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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

8-1-1947 Volume 65, Number 08 (August 1947) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 65, Number 08 (August 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/181

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. XUQfr JNftr o 10 I s vation Army Band, has retired, after an ’S Third unbroken record of sixty-four years’ serv- and Ernest Bloch’s Second Quartet have ice as Bandmaster in the Salvation Army. won the Award of the Music Critics Cir- cle of New York as the outstanding music American orchestral and chamber THE SALZBURG FESTI- BEGINNERS heard for the first time in New York VAL, which opened on during the past season. YOUNG July 31, witnessed an im- FOB portant break with tra- JOHN ALDEN CARPEN- dition when on August TER, widely known con- 6 the world premiere of KEYBOARD TOWN temporary American Gottfried von Einem’s composer, has been , “Danton’s Tod,” By Louise Robyn awarded the 1947 Gold was produced. Prior to A PLEASURE PATH Gottfried technic tales Medal of the National this it had been the von Einem new field in the TO THE PIANO book one This book covers a child's early Institute of Arts and policy of the Salzburg training, for it supplies a link that coordinates THE PRE-SCHOOL CHILD) Letters for “his distin- Festival to present only established (FOB and fingers, and enables the Louise Robyn eyes, ears child guished service in the works. Von Einem is Austria's outstand- Perry By read notes fluently within By Josephine Hovey actually to a sur- field of music.” The ing young composer, and “Danton’s Tod” grade short period. The book is not with any first prisingly an medal is awarded for is his first opera. Otto Klemperer con- very young- be used in conjunction fascinating study book for the May experiment—its material and principles have This piano. It cootunst music only once every nine years. Mr. ducted the performance. piano starts as a rote-playing book for the est student of the instruction been tested and proven for many years. Be- Carpenter studied under John Paine, plays a first yea P K. the child (a) sings and principles in DR. EVANGELINE LEHMAN, noted Amer- LASZLO HALASZ, director of the New took Wherein fifteen essential ginning with MIDDLE C the note-names are Ziehn. what has been so that his , and Bernard He NICK BOLIN, a Hollywood composer, is selection by rote, (b) reads up the child's hand story-element ican author-composer, has been made an York City Opera Company, has been en- Gradually the Sc, building introduced with the which per- has written orchestral works and miscel- the winner of the Gershwin Memorial and finally, (c) writes it abil ty, played, equals his mus.c-reading each note with its own note-name. The Honorary Member of the National Mu- gaged to conduct the summer opera sea- advanced until reading an finger dexterity sonifies laneous pieces. Award of one thousand dollars offered by young student is powers. Eac F* ' sic Fraternity, Sigma Alpha Iota. The son presented in , Canada, by All of ‘ he ma interpretative pedagogic plan avoids the use of counting be- playing are welded into one. thus aiding his the Hollywood Bowl Association. His win- bookJ a feature system initiation took place in Detroit on May 28. the Montreal Festivals. Leopold Sachse, in story form and the in story element, cause of the "one-unit” employed terial ?s presented - ciple is introduced WILLIAM D. REVELLI, widely known ning composition, “California Sketches,” child director will illustrations that appeal to the throughout. More than seventy-five little melo- stage at the City Center, do abounds in and creates interest. authority on band music and Director of was given its first performance on July copy of brochure to the child's imagination directing imagination. Ask for FREE that appeals dies are included in this unique book. THE TENTH ANNUAL song contest for the stage for the Montreal procedure in Bands at the University of Michigan, re- 12, by Paul Whiteman in the Hollywood psychology, pedagogy and project. on the Price, 75 cents the W. W. Kimball prize of one hundred Bowl. teaching. Price, 75 cent* ceived the honorary degree of Doctor of pre-school piano TALES-BOOK ONE dollars, sponsored by the Chicago Singing TEACHER'S MANUAL TO TECHNIC Music at the annual commencement ex- Price, $1.00 book for the teacher. College, Teachers Guild, was won by Merle Kirk- HELEN TRAUBEL, leading Wagnerian is an indispensable ercises of the Chicago Musical man Jones of Chicago with his song, Deep Price. 75 cents held in June. Dr. Revelli is editor of the soprano of the Metropolitan Opera Asso- UliL Wet Moss. OLCLirJn FIRST CLASSICS AND Band and Orchestra Department of The ciation, has been elected to Honorary Etude. Membership in the International Mark EDWARD B. FLECK, concert pianist and THE HOUSE THAT FOUNDATION HARMONY GREAT BRITAIN’S annual music bill in- Twain Society, in honor of her contribu- teacher, died June 15, 1947, at Denver, HARMONY PIERINO GAMBA, nine-year-old Italian cluded about $600,000 paid to United tion to American Music. She was elected JACK BUILT THE ROBYN-HANKS (A 2ND YEAR BOOK TO FOUOW Colorado, where he had been active for boy prodigy, termed the “pocket - States composers of songs and dance mu- to the post formerly held by the late PLAYING IN book one FOLK SONGS AND FAMOUS the past thirty years. He was a native of (READING AND nini” won the cheers of an audience of sic for royalties and performing rights, Jerome Kern. OCTAVES) Robyn and Howard Hanks PICTURES") according to a recent statement Vienna, and studied at the Royal Con- 4 By Louise 5,000 in on May 22, when he con- made by servatory of St. Petersburg with Anton Perry Mary Bacon Mason ducted the Lamoureux Orchestra in a Chancellor of the Exchequer Hugh Dal- By Josephine Hovey By THE JUDGES of the Lili Boulanger Rubinstein. concert of works by Rossini, Mozart, ton to the House of Commons. Each classic Memorial Fund, Inc., have announced the This is a Schubert, and Beethoven. is in simpli- names of three young composers to whom SIR SYDNEY HUGO NICHOLSON, church s p 1 endid without any score, the diminutive maestro THE Opera Company fied form with awards have been made. They are Michal musician and former organist at West- book for stirred the audience to such a pitch of will produce a revival of Massenet’s rass verses that Spisak and Antoni Szalowski, two Polish helping lit- minster Abbey, died May 30 at Ashford, i S

" LITE” AUGUST , 1947 MUSIC STUDY EXALTS 421 . . . . i 7 :

Editorial ^nrrr^ IT®IDE- f Rufautk Piano' I InliL FAMOUS THEMES IN THE MODERN MANNER * Ai themes arranged by Jo Lefeid. includes. Modern style settings of famous classical p. MONTHLY THEME PUBLISHED THEME from Eantasie-lmpromptu, Chopln-FAMOUS i, pa. Walter THEMES from Humoresque Presser Co., of Concerto No. 2, Rachmaninoff-THREE THEME from Piano .60 By Theodore —and others. Price STAFF 1 editorial and advisory MARCH KINGS' ALBUM JAMES FRANCIS COOKE DR. Editor, march writers^P^nfed in e«y M. McKray, Assistant and over again we have been queried, “Of what value The famous marches of John Philip Sousa and other renowned Guy McCoy and Ethel VER Peery, Mstsic Editor arrangements by Leopold W. Rovenger. Contains: WAS Dr. Rob Roy career?” Of course the to-play ,,,? DOUBLEq'quBLE would be a degree in music in my PATROL, Meacham-UNOER THE 1 -SEMPER FIDEUS March, Sousa-AM ERICAN Dr. " McCurdy others^ Harold Berkley Elfzi^thGcxt"aDe Dr. Alexander least three things CADETS. Sousa-JOLLY COPPERSMITH, Peters-and Maurice Dumesntl t Page answer must be conditioned by at EAGLE, Wagner-HIGH SCHOOL Ruth Evans Buhman Krjck N . Clifford O ^ Edna Fort Price Pietro Deiro peter Hugh Reed granting the degree. William D. Revelh 1. The standing of the college YOUNG PRESSER 2. The nature of the work of the student requiring a degree. GRIEG FOR THE foT/NlTFp 1883 BY THEODORE by Leopold W. Revenger. to secure Selected, arranged and edited for the first year piano student 3. The practical training of the student required

' OF THE MOUNTA. N K NG Includes: ALBUMLEAF-ANITRA'S DANCE-IN THE HALL DANCE No. a degree. MARCH OF THE DWARFS—SOLVEG'S SONG—TO SPRING—NORWEGIAN melodic retain oil of the rhythmic interest and no longer can look upon a degree as -and others. These easy-to-play arrangements t 1 / In realistic America we Contents j^ov us , )-t beauty of the original academic millinery—something put on for Commencement Day BEETHOVEN FOR THE YOUNG and then discarded. American students now realize that the value VOLUME LXV, No. 8 PRICE 23 CENTS piano by Leopold W. Selected, arranged and edited for the young ambitious student of the of a degree depends not merely upon the fame of an institution, TURKISH MARCH from The 421 Rovenger. Contains: MOONLIGHT SONATA (First Movement)— THE WORLD OF MUSIC ECOSSAISE—GER- but upon the record of the institution for producing graduates Ruins of Athens—VICTORY THEME from Symphony No. 5—FUR ELISE— student to the characteristic EDITORIAL TRUDE'S DREAM WALTZ—and others. Unexcelled for Initiating the 423 in a special field who have commanded success by their labor. The A Matter of Degrees. style and forms of this great master. Price little degrees of A.B., Mus. Bac., Mus. Doc. mean relatively unless Lambert CULTURE Portrait by Herbert MUSIC AND reputation for ADULT PROGRAM ALBUM . ..Mnrtin C. Burton 424 the institutions granting the degrees have a high SIR EDWARD ELGAR Roads to Memorizing Piano Music Leopold W. Rovenger. Splendid .Gregor Pin I corsky 425 the head Compiled, arranged and edited for the advancing pianist by Heart of the 'Cello students. degree from Almost entirely self-taught, with no earned degrees. Sir Edward stands as The Ray Lev 427 scholarship and for graduating notable A CONCERTO No. I year material for the Adult student or Music Lover. Includes: PIANO Obervations of an Artist on Tour of all British composers since Purcell, who also had no earned degree in music. third Dr. Gup Maier 428 PETER AND THE WOLF, Prokofieff— LULLABY Cambridge, Oxford, Yale, Harvard, Princeton, Michigan, Cornell, I LOVE THEE, Grieg— Pianist’s Page (Theme). Tschaikowsky— The ...Doran K. Antrim 429 CONCERTO IN E MINOR (Theme), Chopin- Music Molds Our Emotions (Berceuse), lljinsky— FIRST WALTZ, Durond— or California may indeed be a mere collegiate decoration unless LARK. Schubert LARGO from Xerxes, Handel—AVALANCHE, Heller— HARK! HARK! THE MUSIC IN THE HOME pass exam- fine arrangements, transcriptions and adaptions. the student has the ability to do something more than cut and dried scientific problem that may be learned with calipers —GYPSY RONDO, Haydn—and many other Air Alfred Lindsay Morgan 430 1.00 Summer Symphony Programs on the Price Meredith t adman 431 knowl- The Etude Music Lover’s Bookshelf B inations and the determination to capitalize his acquired and logarithms. The personal, individual gifts of the teachers in MUSIC AND STUDY edge in real life. one body may, through their ingenuity and inspiration, teach the Ave. Maurice Dumcsnil 432 738 So. Campbell The Teacher’s Round Table There are many educators indeed, who have a very decided same prescribed course as that given in another college under Securing a Good Piano Tone Earl Blair 433 CHICAGO 12, ILL. * rancta Rogers 435 opinion that a degree should be conferred upon the graduate only enormously. Battistini and Plangon capable but prosaic masters. The results may vary Terms Accurately Herschell ( . Gregory 438 Use Musical after some years, when he has demonstrated to the world that In America there is much agreement in the requirements for The Importance of the Piano for the Organist Hr Alexander McCurdy 437 A Course in Orchestral Instruments for Music EdtH fttoi Arthur H Christ) uxftfl 188 he has made good. the A.B. in music, but there is still much to be done before any- Alfred E Zealley 439 A Famous Military Band years your Editor made a private survey of the grad- The Tyranny of the Bar Line Arthur S. G arbett 440 Many ago thing like a general uniformity can be established. Harold Berkley 441 The Violinist’s Forum uates of music schools in England and on the Continent and was The Music Teachers National Association, during the past few Questions and Answers Dr. Karl W. Gehrkens 442 PIANISTS Building Finger Efficiency in Piano Study Irving D Bartley 443 dumbfounded by the very small number of graduates who had years, has given much serious attention to musical degrees in Developing the Tenor Voice Frederick Jagel 444 risen above mediocrity. In one instance, in Germany, a graduate colleges, and the outlook is hopeful. Professor Karl H. Eschman, MUSIC Improve your playing of a famous South German music school had abandoned her career of Denison University, Ohio, and Professor Arlen R. Coolidge, Classic and Contemporary Selections position as servant. Periwigs and Ruffles (Presser 27834) Chester Nordman 445 after two years’ struggle and had taken a a of Brown University, Providence, Rhode Island, have taken the Broadwell Technique At the Firemen’s Carnival (Presser *27757) R ilph Fcderer 446 In England there were records of large numbers bearing degrees, by 3 446 lead in these investigations. In the 1946 Volume of Proceedings, Nocturne (Presser 7157) Fr Chopin, Op. J5, No. O Rest in the Lord (Ditson) (From “Sabbath Day Music**) intricate examinations but who had given scant Learn how the Broadwell Principles of Mental-Muscular Coordination and who had passed Professor Coolidge pays his compliments to “music appreciation” Felix Mendelssohn •.Norwood W. Hinkle 450 the Keyboard Patterns Method to gain proper keyboard habits can greatly distinctive work in their ” In Sash and Sombrero (Ditson) Milo Stevens 452 indication thereafter of any kind of and the so-called “listening, literature, or ‘appreciation course’ Memorizing, Sightreading and Playing. improve your Accuracy, Technique, Fragrant 453 Gardens (Presser 27799) Joseph M. Hopkins chosen field. Side by side with them were other musicians, who ’Way Down South (Ditson) which, in its place, plays a very essential part in modern musical Mountain 455 like Sir Elgar, REDUCE PRACTICE EFFORT—10 TO 1 Journey (Presser 27796) N. Louise Wright had had little musical training; some were Edward training, but carried to excess, cuts down the student’s hours Blossomtime Your piano practice can be scientifically applied to eliminate Waste Effort and Time. Learn how (Piano Duet) (Presser 19908) C. C.\ Grarnmond, Op. 13 456 work of ten how memorizing and sightreading are reduced to actually self-taught, but who were successful and prosperous. one practice repetition can do the ; Vocal and Instrumental Compositions for practice and study. logical practice principles. 'The Broadwell System makes memorizing automatic. Makes sight- Andante, from Sonata I (Violin and Piano) of the world has the bestowal of degrees and aca- reading a natural, rapid and accurate process. In no country “In passing, it might be said that the profession might well (From “Six Sonatas for Violin and Piano) (Ditson) G. F. Handel 458 God Cares (Sacred 459 honors been administered with more meticulous and serious GAIN IMMEDIATE RESULTS song—Low Voice) (Presser 27825) Henry Hager demic scrutinize more closely the methods of instruction, examination My Jesus, I Love Thee (Organ) (From "Organ Value of the Broadwell Methods applied to your own playing is appreciated not only in the sanction than in England. In fact, very few of the foremost Eng- Transcriptions of Favorite and grading used in the so-called listening, literature, or ‘appre- improved quality of playing, but also the speed with which improvements in technique, accuracy, Hymns”) (Presser) Adoni ram J. Gordon sightreading and memorizing, etc. become noticed. Improved mastery of skills such as trills, Arr. by Clarence KoMmotw 460 lish musicians and composers have been without degrees. Yet „ „ , , , „ ciation’ course. It is in this course that the largest number of arpeggios, runs, octave passages, chord skips, is unmistakably evident after the first ten days. Delightful Pieces for Young Players Bright Sunny Days Elgar, Holst, Bliss, Grainger, and others did not possess earned (Presser 2/732) j J. Thomas 462 liberal arts students are encountered and the importance of the BY FAMOUS TEACHER-PIANISTS Five Little Chickadees ADOPTED (Presser 27695) .Sarah Coleman Braydon 462 degrees and their works stand out among the most original of are by famous Concert Pianists, Professional Pianists, Cadet Capers The Broadwell Methods used reputable (The John Church Co. 30907) Herman Bctlstedt work merits thorough and serious study and appraisal. A well- Teachers, Students and Organists the world -over. These methods may be applied by the student Arr. Bruce Carleton 463 all British-born writers. hasfhad but 6 months of previous piano instruction as well as by advanced students. The At n — r. , by ordered reference text, it who At the Bam Dance (Ditson) admirable though may be, does not get player of popular music as to the classical Bernard Wayness 464 methods are as valuable to the pianist. The Broadwell However, the degree is, of course, a dignified mark of achieve- Methods have been successfully used for over twenty years by thousands of pianists. to the root of the matter which is the technic used with a class JUNIOR ETUDE 476 Elizabeth A. Gest should be coveted by all -who at the same time are willing ment and of listeners to project MISCELLANEOUS clearly what the book selects as study BROADWELL PIANO TECHNIQUE to make a covenant with themselves to let it be merely the starting Variations on a Given material. Neither does it touch upon the all-important matter of Theme Howard A. Wolfe 434 True or False in Harmony point for years of ambitious labor and insatiable ideals. Mail Coupon — No obligation for Land Dr. Harry Alexander Matthews 434 examining the student to find out is actually Voice Questions what heard, absorbed, Answered Dr. Nicholas Douty 467 In many American institutions the A.B. in music and the degree Organ and Choir Questions retained. . Answered Frederick Phillips 469 and The educational process is not completed when a FREE BOOK- "TECHNIQUE" Violin Questions Answered Harold Berkley 471 of Mus. Bac. are obtainable only after four years of finely planned Fiddling in lecture has been given and an assignment a Blizzard (Mummers’ Parade) 480 made. It seems to the A Band Question collegiate work. However, in the country as a whole, there is BROADWELL STUDIOS, DEPT. 67-H Answered William D Revelli 480 writer that the profession could demonstrate the positive values Covina, California evidently still a great deal of work to be done to create conditions d C n C S a in the college listening course and make telling reply to the stric- Gentlemen: ‘ ,‘Ur lanu4'y 16. 1884 at the P. O. at Pitta.. Pa ™T'? t£ £t°J'M r of comparable uniformity so that when one asks, “What does it me your FREE Book “Technique" showing how I may quickly improve Copyright. ,947. Pretrer Co.. Send my Technique, Accuracy fell b, Theodore tures of a Mr. Virgil Thomson, for example, who gives the un- Memorizing, Sightreading and Pla/ing. I understand there is no obligation. mean to be a B.A. in music, or a Mus. Bac., a Bachelor of Fine fortunate impression of blanketing all such study under the term NAME Arts in music?” we may have some relative idea of the work ” Possessions; Dominican ‘appreciation racket.’ ADDRESS ^public,* also in Costa Rica. Cuba. duras, ' ««*»«», Panama. Republic of Hon- required to become worthy of this distinction. We must always sllvX snai'n a Sooth The musical collegiate rank college CITY STATE 82.75 a American countries except the Guiaras. of a should never be judged year in Canada inHVd Newfoundland realize that music is an ai't and always will art. is Single - »-50 a year in all other countr.ee be an It not a Wl copy, PrtVe 25 cents (Continued on Page 426) 422 "MUSIC STUDY EXALTS AUGUST, 1947 LIFE the etude 423 seemed to anticipate my Music and Culture -1 R. PIATTGORSKY question. “You are surprised,” he smiled, “but Music and Culture M I have been asked so many times why there are so few known performers on the ’cello, and for years I have answered this question. Lately, however, with much more seriousness. I am now absorbed in that problem. “People fear that the ’cello is too difficult to master. Heart of the Cello ‘are there so many The Music ‘Why, if this is not so,’ they ask, Roads to Memorizing Piano more great violinists than ’cellists?’ Of course, the de- mand is not so great, we know. I was so lonely in this country a number of years ago that I brought the late From a Conference with Emanuel Feuermann and Casadaes over here! “We must have more ’cellists and I shall do every- Inj lljarlin barton thing in my power to build more ’cellists. There is no such thing as one string instrument being more diffi- Cjucgor l~^ialLcj orshij cult than another. Every string instrument is difficult. Music Assistant Professor of “The ’cello suffers because there is so little peda- Eminent Violoncello Virtuoso gogical material written for it. It is amazing how little University of Connecticut even the great composers know about the ’cello. They much more about the violin, and of course, know so SECURED EXPRESSLY FOR THE ETUDE BY SAMUEL APPLEBAUM it has become a much easier medium for them to ex- know the intervals that STUDENTS use two forms of 3. Another good idea is to produced very OST PIANO as press themselves in. Also, violinists have make up the melody. Even such obvious details memory: aural and muscular. great teachers. does the melod> present, Gregor Piatigorsky, was born at Ekaterinoslav, , ear,” in the these are sometimes neglected: where Tho most widely heralded 'cellist of the Aural memory is playing ‘‘by the ’cello really needs now is a composition M direction does “What violin violoncello at the Moscow Conservatory and became the first it skips, which April 20, 1903. He studied and of the phrase. Before one is able to progress stepwise? When broad meaning written for it that can become as popular with the gen- Philharmonic. toured widely as a soloist in course, these associations are 'cellist of the Moscow Opera and later of the He piece without the score, it is obvious that it go? What interval? Of reproduce a eral public as, let us say, the ‘Moonlight Sonata’ for The author of this article, Mr. Samuel Applebaum is a knows intervals so well Europe and in America with prodigious success. in imagination the melody and accom- useful only when the student one must hear Beethoven might just as well have written a in Newark, New Jersey. He is the author of the highly endorsed “Primer Method immediately into keyboard piano. foremost violin teacher that he can translate them —Editor's Note. panying harmonies. ’cello work which could have become as legendary and for the Violin." “finger-memory,” terms, building them from any tone and in either Muscular memory, usually termed popular! If we had one such work that could grasp used in direction. is the ability to recall the physical movements public, we would not have to be concerned how your and hold the well the space through which the 4. Another useful device is to- memorize piano playing, as as with the popularity of the ’cello. indispensable in fingers look on the keyboard while performing a pass- movements take place. It is of course Piatigorsky added, “I have a develop an astute sense of acoustical tent of the work after many playings of it, you often hands “And do you know,” passages. Try to passages, where the fingers must learn to move age. Eventually you will probably look at your rapid MARTIN C. BURTON feeling that this will soon happen to the ’cello. So that timing. alter the emotions to the marks which have already score, or in technicaUy automatically. It should be present to some extent in when performing without the in have firm in glamour will be created for it. “In the lower strings, if a fast passage were played been put by you and which become with the score. To be more slow passages also, although in these the mind has difficult passages even which switch should be turned. it said, past, the violin has been considered the in- little bit slower, or rather, if the performer would your subconscious. Though has often been we acquiring a visual key- “In the a more opportunity to control the movements of the concrete in describing ways of 2. Exposition and Recapitulation. You are also likely strument of the people, and the ’cello the instrument realize that such a passage requires a little longer time must constantly realize that the fingers and hands are fingers. Unfortunately, muscular memory is unreliable board memory: notice the pattern of the black and to confuse the two parts of a sonatn movement which of the aristocrats. Most of the great ’cello pieces were to carry, much more clarity would result. the slaves of the mind. unless supplemented by other kinds of memory, but white keys that are used in a passage; notice how far contain passages that are alike except for being in dedicated to royalty, and a good many members of “Now, there is yet another element that the ’cellist “A piece of music is an expression of a musical, that does not mean that anything is intrinsically apart the hands are; memorize exactly which fingers different keys. pianists have learned how treach- Many the ’cello. to neglect, perhaps not through his own fault, aesthetic emotion. That emotion may be very complex. practice especially in are easily royalty played is apt wrong1. with it. In fact, the chief value of slow occur on the keys, passages that erous uncontrolled finger-memory can be in perform- only one great ’cellist in the past, and is working with his pianist. The piano’s low Varying moods may be found in one composition. There muscular confused with other; “We have had and that is its effectiveness in establishing accurate each or establish associations be- ing such passages. Minimize the posslbiliiy of confusion great composer for the ’cello, and that was Boc- tones have a way of absorbing the low tones of the may be combinations of various moods. The expression tween the hands—for example, notice that a certain one memory. by practicing this way: (a) learn one section very well is of the work, yet cherini. opinion, the ’cello has a greater future ’cello, consequently, these are not heard. Now I of these moods in the performance the finger in tjre left hand plays two octaves below a right- In my and Aural and muscular memory are undeniably before practicing other; (b> stop practice on the the than any other instrument. We have only begun to shall say something startling. When a ’cellist plays in many performances we feel that the most impor- In all that is said hand finger. basic forms of a pianist’s memory. first section second; (c) for a while practicing the scratch the surface of the ’cello’s remarkable musical forte on the low strings, I do not say that the tant purpose was the solution of the technical problems disparagement is intended of these two 5. The tonal relationships of the double henceforth, no melody should be so few id) finally, days practice the sections alternately; technical possibilities. pianist should, play forte. I do not say that the pianist and their execution. the contrary, the more vivid they accurately recalled that one play it and kinds of memory. On can with no help contrast the you can two sections so distinctly that should play mezzo forte. When the ’cellist plays double “The approach to a new piece of music should be, are, the better. But because they do play tricks, in order from finger -memory. A sure test of this ability is to repeatedly play confusion. Important Problem musical one after the other without An forte on the low C string, I say that the pianist should firstly, a thorough comprehension of its mean- to2.have absolute confidence in one’s memory, one must play the melody, alone, with the other hand. 3. Between Phrases. Finger-memory tends to be “I have asked many well-known composers to in- piano. have associations of an intellectual nature as well. 6. The intervals between the bass and the melody, play weakest points between phrases, because it is at these themselves in the ’cello and it will not be long all, we are playing on an instru- at least on the strong beats, may be memorized. In terest “After that rests, pauses, or skips to new registers break the before we will have some very interesting works from that was built for small auditoriums Seldom Used Ways of Making Associations this way, the two most important voices are more ment continuity of the musical thought. this reason, composers should learn as harpsi- surely associated with each other. For them. I feel that our talented and for soft accompaniment, such Intellectual memory is the result of conscious analy- 1. special care should be taken to form strong associations more about the ’cello. chord. Now we play it in huge halls, with sis, which may and should be started when a piece is 7. The “tonal centers” of the melody are easUy dis- covered between the end of one phrase and the beginning of “When I asked Prokofieff to write his Concerto for tremendous orchestras. The ’cellist must in- first taken up for study. This is long before aural and by a brief analysis. A tonal center is usually the next. he came to home to hear me play many, many well-balanced accompaniment. The finger memory have fully matured through slow prac- a long tone around which shorter tones are grouped, me, my sist on a to times. He developed an astute feeling of ’cello technic. ’cellist, with the biggest tone, cannot tice. Because students sometimes do not realize how or which the shorter tones progress. Taken together! best the • Practice and Memory became absorbed with the ’cello, began to think possibly compete with the modern piano many different kinds of associations are possible, sev- tonal centers form a simplified contour of the He ’cello of course now we have and with its eral examples of detailed analysis are given below. melody. However, even this strengthening of associations music in terms of the and with its beautiful sonority, 8. A rhythmic between phrases sufficient to remove the this wonderful Concerto. I played it for the first time. pedals. The more different kinds pf associations there are, the framework should underlie all asso- may not be ciations, fear of Closely Stravinsky. ’cello, when the per- more numerous will be the tonal links, the stronger whatever their nature. Unrhythmic memoriz- forgetting that haunts many pianists. I did the same with “Yet let us take the ing is sometimes analyzed, the fear fear that realize what possibilities the ’cello has when we plays it alone, in the biggest of halls. the musical texture, and the more nearly infallible the observed in the playing of a student of forgetting is rather a “We former who has memorized you will forget. its tone quality, its tremendous range, its alone and play double piano, memory will be in performance. each hand alone, without count- not know what to do if you should consider He may play ing, so that the hands In a moment again various effects, such as the pizzicato and of course we if finger action is good and if there Throughout the piece, the student should know in continue to play even when one of panic, you may begin the piece — and his is and or violinist uses. In left right what key he is playing. The significance of a key lies hand a beat ahead of the other. gradually approach the same dreaded place: can use all of the bowings which the is good coordination between and that, until modulation takes place, of It is manifestly impossible you may jump ahead most of many respects we can do more than the violinist can, hands, nothing is lost. The most delicate in the fact most to memorize every note several pages, omitting of a piece in all the piece. thing our modern composers will present these poten- is the tones belong to the scale of that key. (The excep- the ways described above. However Such a fear may lead to the very and tone heard. there are feared, en- tions, of course, are the chromatically altered tones.) frequent places in a piece that because it means that your mind is not tialities. are easily Approach to a New Composition It follows that there is a bettter chance of remember- confused with each other, tirely on the But if. "I should like to ask composers to write short works and there are always faulty music that you are performing. ing a passage if one knows from what scale most of places that occur during a test instead, the fear leads measures for the ’cello. I feel that there is a great need for them. “I believe this story is attributed to Casals. performance for a you to take preventive its tones are selected. It is possible to become so con- friend It is to patch up long enough have a Composers are prone at this time to think in terms of He was to play a Concerto with orchestra such places that a selection before the performance, it will scious of tonality as depicted on the keyboard that rom these possible kinds of constructive, rather large forms. We should have many more short, in- accompaniment, and was naturally con- associations should be than a destructive, result. the keys comprising a given scale are, as it were, in- made After several test The best this, teresting things. It is through this medium that the cerned about tonal balance. Yet, before the performances, the most serious preventive measure to take is simply stantly illuminated, merely by thinking the name of potential lapses of ’cello will take a firm hold on the public. And I feel started to play, Casals memory will be eliminated. memorize the beginning of every phrase so thoroughly orchestra had even the key. that, if this way about string quartet music.” turned around to the conductor and whis- necessary, you can jump to it immediately- Places opportunity, afraid it is It is well also to acquire the ability to identify That Require Reinforced This can be done in following “I should like to take this Mr. Piati- pered, ‘I am sorry, but I am a Memory a brief period of the ” the tones of the melody and its accompaniment in an Every kind of gorsky. to ask you why in so many ’cello recitals, cer- little bit too loud.’ piece has several drill without the first phrase, dangerous places that score : begin the even more precise manner—as specific degrees of a must von stop tain tones seem lost, particularly the low tones.” that Mr. Piatigorsky’s repertoire memorize especially well to after a few notes, second phrase, Knowing avoid forgetting dur- then begin the scale. One may think either in terms of the Italian ing a performance. stop, and such “You know,” he answered, “you have struck on a very is vast, I asked him just what his method of Three kinds of places thni continue thus through the piece. After syllables do-re-mi or in terms of numbers for the Q * ’cellists, I scale especially careful p ac '' ice important problem for and am glad to talk approach is to a new piece of music. “This,” memorizing - if the associations are here ChrW°Sen f continuous thread of degrees, although the latter is better for a student more detailed for s^ould about this, as I think that we can solve this problem he exclaimed excitedly, "is a very important treatment. ever break during a performance, you can al- with a knowlelge of harmony. Each tone of the scale Similar ways to the benefit not only of the ’cellist but our audience. phase of the art. Oftentimes when a string Phrases. Whenever two pick it up at a point not too far beyond the place should have its own personality. For example, or more phrases a melody of a piece begin where it that Naturally, a low tone will not carry so readily as the player plays a piece, I can tell that his ap- the same way but have has broken. Furthermore, the mere fact that begins on the sensitive “three” of the scale different end the violin, has mgs, you are likely to you have decided frees more piercing tones of but I am going to proach has been technical, not musical. It confuse them unless vn„ what to do if you should forget a very different emotional effect from a melody that very 6 your ask ’cellists to develop a better sense of timing in con- is wrong to start a new piece of music by careful (a) to locate the mind to concentrate and so re- begins on the forthright of exact notes fw on the music, “one” the scale. It is partly prise the turning-off duces nection with their low tones. playing it over and writing the new finger- places (which the likelihood of for this reason that three or four may be mfe T’' your forgetting. . tones of a melody railway k ned to , very careful of the low tones,” Piatigorsgy ad- ings bowings. become slave switches); (b) to stamn tu i he technically should “Be and the You a often suffice to locate the tonic, 6 dlff®rence difficult passages of a piece provided that the lis- tinctly in your s dis- e vises. “It takes a little longer for them to reach the to the technical marks. mind; and (c) to memorized first which tener is musically sensitive. keen of all, because the analysis a performance so that at the memorizing ends of the auditorium. Carefully watch tempi in low “If you begin to feel the emotional con- criticalmomeK requires will help to clarify the tech- GREGOR PIATIGORSKY u Sw nical, problems. 468) In addition, ( Continued on Page 424 "MUSIC AUGUST, 1947 "MUSIC STUDY EXALTS LIFE” 425 STUDY EXALTS LIFE” THE ETUDE . „ ' , ! —

essentially a singing “Qinrp the ’cello is instrument, something pertinent about tone produc- Music Culture request for wolfid you say and Replying to my the thumb Culture said Wta ^ Music and position, Mr. piatigorsky on m the most important thing tell you that sure that 1 * x will position, I make _ strin i am connection with tone production. ^ g . in I ’ v mind struc- strongest part of the ° position to think each its phrases, its . that I ’cellist will lng. Sing it in. your mind. Study thumb tell you something However, I to love : playing. strings, and yet it is that, try . this’; something ture. Even more important than the b on two ;nn -Oh I know fifths, that is,^with por- to inspire you. The play weakest correctly apply. If they and still more important, allow it way that tne, very few ’cellists did, place the thumb in such a wWch of an Artist on Tour successful cello playing. Observations longer you spend with it mentally, the more lowerstr more beautiful the thumb is on the g. Ifwould have play it on the ’cello. tion of ^ between the strength the performance will be. Then of shifting, is a relationship of alter or Realizing the importance “There time you make a mark, every time you happy to ao speed of the bow. The stronger one Every discuss it. He seemed the tone and the dictated by the emo- Piatigorsky to a fingering, it is being is when to shM faster one must move the bow. it put in “Ourmain problem on the ’cello wants to play, the A Conference with content of the work.” it? Yet why do we hear tional the principle of sh ft simple, doesn’t so Piatigorsky, even how. Of course, ^sitions. Ti “Do you advise this procedure, Mr. J"!. the Why so many tones that are not and youngsters learn it much scratching? students?” c^rrec^ It is ’But I press my fingers for young great art required^ totfsh ft ’cellist will say. very as possible, students There is no Hear’ A •“Most emphatically! As soon ’cello me ho^ Bu^th big tone at certain times. oCev elementary ’ all want a Of procedure. As I have explained in every Lmlv We should be taught to develop this cellists 1" bow as much as you wish. lies herein: when ® do. Press the fingering must grave mistake course we Distinguished American Pianist said, when we finger a passage, that attention only auditorium with the the left hand; they pay unlimitedly. Fill the glori- to perform the passage think only of Press suit the music. The easiest way the tremendous impo only a ’cello can produce, but per- the left hand, not realizing ousness of tone that may not be the most musical way. My plea to to the bo. am when ehilttn* U bow quickly. the the . they should not be affected by tanceof not to move , formers is that heard and when is it is scratchy, the bow is not “When is a shift to be tone breaks or HEYLBVT to make passages as easy as pos- for “If the SECURED EXPRESSLY FOR THE ETUDE BY ROSE natural tendency every ’cellist must make are tones that are soft often- be heard? This decision moving fast enough. Why sible. should be heard individual shift. Some shifts without body? Well. I shall tell you. It solve a certain passage and be content, every phrase times flimsy, “We may not at all. The musical too fast." expressing very distinctly; others, the bow is moving Schelling when she was a student of Rebecca but yet may feel that musically we are not not to be is because Ray Lev, whose outstanding gifts were discovered by Ernest decision. When a drift to would you say about the duty is then clear. To must guide the “Mr Piatigorsky, what Davidson at the Music School Settlement in New York, prepared to become a secretary when financial ourselves as we desire to. Our usual manner is be performed in the itself? If we use the wrist when After she won the Prize (for the passage until we have really ‘satisfied’ heard, it to actual bow change obstacles blocked her path to further music study. think about diminuendo is mad , with the bow arm, a very careful one bow to another, is there a danger of summer work under Gaston Dethier) and the Matthay Award (for further study under Tobias Matthay, its musicality. be we go from inaudible. If the shift is to resume her own career plans, and made her debut while still in her ingredients and the shift becomes bow pressure in a forte passage?” in London), however, she was able to “Therein, X believe, is one of the great weakening the makes a definite crescendo the past decade, Miss Lev has steadily forged her way to the forefront of our younger pianists. him, the heard, then the bow arm with you. I think the wrist has been teens. For friend, . The longer I knew “Yes. I agree interpretations; for her scholarly trans- of mv left hand just plays, She is hailed both here and abroad for her sensitive* musicianly the top note is approached. The than any other part of the much he was absorbed with the as misused, more so new art and young artists. In the more I realized how of crescendos and much criptions; her exciting recordings; and for her zealous services to it is the bow arm, by means the wrist is a pretty music. He would play a passage but right arm. You know process, and “reports” on her audiences. She is in a musical content of nature of the shifts. entire following conference, Miss Lev reverses the usual unsatis- diminuendos that determines the harm. I think cellists management of with technical fluency, but would remain quite weak joint. It can do a lot of position to do this since her tours, booked under the auspices of the great independent this type of shift is exactly ease, yet was “The bow change for the use of the fingers in the most crowded of any artist appearing today. —Editor's Note. fied. He could play with the most extreme should concentrate more on W. Colston Leigh, are among passages in many of the important as it is in ordinary playing. always troubled by jumping and bow change! young cellists, I hear too much cello works. “With achievement of a beautiful tone on the RAY LEV In other words, there is insuffi- “The played duets together. I was soloist also not enough shifting. mind, one of the most important “We often arm and the left should be, to my in Paris, I cient coordination between the bow college for instance, the very youth of the they have any good material, and then in the evening, with his orchestra in Barcelona. One time aims of a young ’cellist." “AUDIENCES form very definite opinions of the town, is made.” Beethoven Trio in hand when the shift audience-members makes it reasonably certain that I get together with these youngsters in the music room. heard him in a performance of the /A artists who come before them, but it is not Thibaud. begin addressing They play for me and I give them quick criticisms of E-flat major. He played with Cortot and so generally realized that performers have they won’t know. In such a case, I by he saw hearers, giving them a their work. Then they come around me at the piano After the concert, I went to see him. When equally definite views concerning their vast and varied a few informal remarks to my please, have you a piece sort of key to what to listen for. That always works and I demonstrate the correction of any faults or me, he ran to me, ‘Please, Matter of nerjrees audience groups. It is impossible to play upwards of that difficult A splendidly. recently, I played at Hollywood Beach, errors. of paper? You know the last movement— sixty performances a year, in towns and cities all over Just for the ’cello? Well, X am so excited, please, Florida, where the vacation-character of the audience passage (Continued from Page 423) the country, without receiving telling impressions of After twenty years of struggle caused some wonder. So I began by saying, ‘You for Better I must write this down! the American musical public. Now, my impression is me Need Form for the right finger- holiday!’ There and after twenty years of looking that American audiences are second to none in the are a holiday audience, but I am not on “Through such informal experiences, I have found professiona write it down!’ cnvlson a audience interest was so ing, I have it now! I must dabbling in music, but by educate. In fact, we need not world! For sensitivity, understanding, and cooperative was immediate rapport, and that the one great need among young pianists is better by the number of students more than we “i was deeply affected by his joy.” Coolidge’s career for every student of music any intense during my program of Bach, Beethoven, and a serious study. Professor enthusiasm, they cannot be surpassed . . . and this, form better understanding of the purely physical, those making music writer or — English major to become a Cesar Franck, that I could actually hear people remarks upon this subject are especially pat: expect every despite the grapevine propaganda that Americans are technical aspects of piano playing. The basis of good Individual Fingerings citizen makes Department of Music will teacher. Not infrequently an outstanding neither ‘musical’ ‘cultured’! breathing the keyboard. Nine out of “The standing of a college majo nor Yes, those rumors are form centers in position at I quite apart from his “Another thing that would help our audiences, I “Another angle in connection with fingerings that depend largely on the calibre of the work done by those his contribution in a field still to be heard, and I often wonder what our audi- ten young players sit wrong, use their bodies and their is their im- point to emphasize believe, is wider competition among artists. Free enter- think should talk about is the matter of the field. The college is, has been, and will interest in student days; the ences would be like if they had been allowed to grow arms the wrong way! We pianists are the luckiest of I majoring in under- finger values, a deep prise, in its best sense, is stimulated by competition. portance in connection with the individual. I can be a place for scholars and scholarly endeavor even he gained perspective, a sense of up believing themselves as musically cultivated as our instrumentalists because we can do our work in an another ’cellist endeavor.’ Under our present system, much of this is lacking. a passage to portray great warmth, yet though both students and faculty may fail of the high- standing of some field of human European brothers have been permitted to do. No two entirely natural position—and yet it is incredible what this fingering. difference of opinion Hundreds of towns sign up in advance for ‘courses’ of will find it difficult to elicit warmth with est attainment. The department must demonstrate the There has been a traditional audiences are alike, yet all of them reveal the same wrong body and muscle functions come to light! e hand. And applied music in which all the concerts are supplied by one firm of “Casals has a very short but very broad ability to provide its major students with as complete upon the importance of so-called characteristics of being heart-and-soul eager t6 hear “I have developed my own theory of posture, which I It institutions an management. Naturally, the people hear only those I have long fingers but a hand that is not so broad. and scholarly a grasp of its literature and techniques curricula of liberal arts colleges. Some the best there is in music. From my own experience, like to explain to these young people. You can sit in a best in music confines performers are under that management. Such a is foolish to say that his fingerings are the as are vouchsafed the concentrators in English, history, universities in the East have courses in I may say that there is no truly good music which the who chair for hours without feeling tiredness in your arms. i cases, because I could not use them in many run, musical aesthetics, musical average American audience will receive with will- system may be good business, but it isn’t so good for certain or biology. In the long neither a much-heralded to music appreciation, ^ not Why? Because your arms are in a natural position; in pla>in„ art. how fine the artists of rival manage- instances. glee club nor an unusually gifted student composer tory, and musical theory. Practical studies ing welcome. No matter they lie close to your body and the upper arm, which some- ments be, the signed-up towns just cannot get to “There is another principle of fingering which is will take the place of a continuous line of well-round- or singing are treated as a kind of profanation— may is the heaviest part of the arm-and-hand equipment, is Do Not "Play Down" to Audience them. if they want to, their entertainment more applicable to the ’cello, and which I consider ed music majors, who know intimately the significant thing beneath lofty college standards; something an hear Even in complete repose, hanging freely, and requiring no to programs and their concert budgets are settled in important. compositions of various types and periods, have a might detract from mind training and prove “For that reason, performers make a great mistake — — outside muscular support. Now, what happens when wonder- student. in advance. I think it would be a healthier scheme, artis- “I have heard ’cellists whom I know to have sound, though not necessarily professional facility in kind of blight upon the mentality of the reserving their ‘big’ programs for the larger cities the person sitting comfortably in the chair, begins to of intonation, play out of in A er j and taking ‘lighter things’ tically, to buy artists on their interest or their merits, ful ears and astute accuracy the materials of composition and who are capable, if the other hand, we vouchsafe that there are, ' to smaller communities. I play piano? The chances are, nine to one, that he will fingers possesses a certain subtle brilliant, thousands^ am proud of a review I regardless of who manages them. Then every town tune. Each of our not performers. To advance these as aims is can colleges recognizing applied music, got in Miami, where the local move his upper arms away from his body and stick feeling of its own. Whatever the reason, place in t e “Herald” said I ‘was willing to would have a chance to hear every artist. And if some and intuitive only to music on a par with other college sub- instances of students standing extremely high take a chance that my them out in front! This causes him to use suspension where it emanates from is not our great concern. jects and make it possible langdag ’ audience had heard good music before’ what proved more inspiring than others, the people could or to send the recipient of an nonmusical subjects—mathematics, science. and knew muscles and opens the first line of fatigue. The hand it exists. The shape of the hand, the flexi- A.B. in music on bene to do about it! I gave make their own choice for another year. Further, this We know to graduate work in the specialty of history, and so forth, who have been vastly When my second New York and forearm, of course, must be raised to the key- fingers, contribute to the cause. his choice.” rec °~\ recital, some years ago, I listed sort of free and open competition would be enormously bility of the by their musical training. Applied music is justly the Beethoven Sonata board, but naturally—without wing-flappings from the passages we must take into considera- are particularly in Op. 109. My manager (not present one) stimulating to the artists themselves, for, while few “In fingering We pleased with Professor Coolidge’s nized at Yale and at some other great colleges my objected; upper arm. tion natural feeling. For instance, if we play B in the broad attitude that work was not ‘popular,’ he said, and would be of us like to admit the fact, there is a wonderful chal- toward the need for finely musically East. In other universities, applied music is not “As to the hands, I have a theory .that they should first position on the G string, and if we use the third educated men well received. I asked myself whether I wished to lenge in pitting ourselves against somebody else! and women who in later life may apply as something entirely apart from real scholars be used as our feet are used. The small arch in the finger, we are doing something very unnatural. For the priceless training m launch my career as a musician or as a popularity- that music gives, although they Throughout the country as a whole, however, foot supports the weight of the whole body. In a sim- many reasons, this third finger has no feeling for that Eh° seeker, and played the Sonata anyway. And it was Student Audiences are Stimulating may adopt as a life work a wholly different properly is now recognized and Dr. Charles ilar way, the arch of the hand should support the body every finger knows, calling note. There are certain notes that He notes: on splendidly received! Naturally—it is great music. Dur- quoted as ranking it, “The best mind trainer “One of the most stimulating aspects of my work weight released to the keyboard. The greatest fault and these notes must be carefully taken into con- ing the past season, I have played the infrequently “The development of the bst." is that it takes me to many college towns where my in piano students is that they play without this arch. Americas as a center of sideration if we wish to finger passages within that 1 heard and somewhat difficult in C, artistic activity in every have a Brahms Sonata line has led to a consciousness Some day, some collegiate pundits will concerts, although open to the public, bring me a large An arch, however, does not imply curled-in fingers instinctive law. to Op. 1 (which I have recorded for Concert Hall Society) of our evident cultural destiny during the cult time explaining why it would be laughable proportion of music-hungry youngsters. Mt. Carmel we can’t play with our finger-tips; we must use the fat, “I often hear ’cellists who are persistently handi- remainder of in outlying areas that had never gotten it before. It, of P • the century, and there will be a greater gest courses in the theory of mathematics, or Academy, in Kansas, rising from the plains like some cushion-y pdrt of the finger, just as a baby does when capping themselves because of a fallacy existing from readiness on „ too, was splendidly received, and for the same reason. the part ics, thoroi of young people to go into or of chemistry, or of engineering, without old-world monastery Tuskegee, with its noble tra- it exerts its wonderfully natural grasp on object. past tradition. It is common to hear, ‘lift the fingers the fields of music ap- Our national audiences deserve to have the best music, — an training training m and art. The need for cultivated men in laboratories. Yet laboratory dition of democratization—Talledega, in Alabama, with And, while this finger-cushion is pressed into the key very high and throw them down on the string in a and women who a of as fine a standard as any that New York gets, and plied so holy , This percussion have special training in music, in music is ignored by them. What is its mixed faculty of whites and Negroes these and from the natural hand arch, the wrist be kept hammer-like blow.’ This is dangerous. the arts of the film a played just as carefully. There is nothing an audience — must radio, a course in reprehensible , It has no place in the ’cello at all. television, in education on all music theory and so resents many more stand out in my mind as high lights of absolutely loose and flexible. The pianist who watches is not necessary. levels, in scientific have so much (or so justifiably) as being ‘played projects involving sound, in practical music study? Broad educators, who especially “The finger must be brought down on the string international cooperation down to.’ musical communion. I am interested in the out for these points of arm and hand position, will soon real benefits of man and exchange, in the experience with the intellectual _ with firmness, and must press into the string after it management and development “It can sometimes happen that, in stepping out on college students, and when time allows me to remain find his form improving. of music study, are convinced through many demons has struck. The hammer-like blows are responsible for concert-giving; these and many others the platform, I sense a lack of familiarity between an overnight in such a town, I always like to meet them “Naturally, the degree of archness must be adjusted will call for tions, that incompatible wit trouble in ’cello playing.” and attract the best talent our it is not in any way audience and the program about to be offered in for musical talks. I ask the Music Department whether to the different hand posi- Continued 465) much colleges can accept — a ( on Page and highest cultural standards. "MUSIC AUGUST 426 STUDY , 1947 "MUSIC STUDY EXALTS LIFE" 427 EXALTS LIFE" the etude

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more than a small fraction Mtisic and Culture mind wm assert that can S MUSIC STUDY just for the so-called talented, or happiness in mathematics, languages, something for everybody? Is music necessary, find leisure is it or say even in the luxury, as so often classed by the unin- Agronomy, entomology, simpler I or is it a Music and Culture ° or philately or other collecting ^ of horticulture formed? is it too late for extensive leisure of us have opinions on these questions, but hobbies Not only Many branches, but it is also impractical more than opinion is necessary to convince education in such something of lack of universal appeal hard-headed realists. Answers to these questions are for the simple reason and remains? The Arts-drama, archi. in the various ways music benefits us. Here Emotions to be found Music Molds Our eanacitv What then sculpture, painting, music, which we are dealing with facts, facts that have been scien- lecture literature, head and heart. For demonstrated. It is to assemble these facts that somehow contrive to unite one or tifically Page of the Fine Arts fall into the this article is written. It deals with the effects of mu- The Pianist’s anSer reason, most It AIsd Influences the Lives of Millions leisure activities above music does to us, and how these results can came category as other men- sic, what do they offer limited appeal for’ be applied to the benefit of all. Since the subject is an tioned Not only but for the most part demand exhaustive one, only the high lights wiU be treated creative participation and abilities. here. snecial aptitudes hj r?jt)oron Antrim one art which would seem to be Most people willingly admit that music has an in- Of all these the our bodies, our minds, and our ’loved, actively participated in and fluence upon us, upon Pianist and unanimously Noted shared is, of course. Music. In spirits. We may all have a different way of explaining healthily and happily Music Educator has consisted mainly in teach- the nature of this influence. To convince skeptical . career, which nu long ployees advertise during hours as an because it is devested of all the features that make mentalities from morons critics, however, of the power of this influence, requires now music work music to all ages and (in ing statement of one’s per- inducement. ordinary daily emotional experiences. The person is very low-grade examples) to near something more than the mere some instances usual self, sonal opinions. We have been told by scientists that Although it is impossible really to separate body and thus taken out of himself, removed from his and from brand new starters two or three genius, to raise or to lower the pulse, to mind, feelings and emotions, in considering the effects which is a wholesome experience for anyone. But it is endeavor of an seventy-year-old beginners, I music invariably tends It should be the highest old right up to ten about it. bes years the respiration and the blood pressure, as well of music, I have attempted it here for convenience. We particularly so for the chronically upset individual himself superfluous, the a single person who was not essen- affect honest critic to render have never found is inclined feed his troubles continually should as to influence the glands and the bodily metabolism. have seen that music can give you more energy, but who to on by silence. No J°urnahst everyone responded pleasantly to music is musical . . . discourse on tially one of the reasons for this is emotional. In fact, mu- rehearsing them.” of the artiste, sympathetic conditioning But now comes along the electro-encephalograph, himself that he is the Almighty stimuli and after flatter musical visible graphs indicating sic’s emotional effect is by all odds the most far reach- Yes, music can lift you from the hum-drum of life, • • • which actually makes how artists he would starve. participate in creating or recreating since without these felt the urge to ing and powerful. refine the baser elements in your nature, restore your criticism, ema these Individuals music affects the brain. good the quality of it some form. But. did all matter how f music in fifty operas, balance and you come back refreshed. works but even qualities and coordi- A. E. M. Gretry (1741-1813), composer of primarily but a fertilizer of future the mental and physical possess the first to experiment in this field. Feeling Emotions Regulated by Music create m abundance. ... music? Yes, in widely was one of without it, God's sun would necessary to produce Character Builder nations airs that were fast and slow, his almost the beginning of music, it has A weary your readers? Why not Everyone loved making his pulse, he sang From worked write . . . why degrees, of course. Why varying to the tempo of the song. You can profoundly the emotions of in war, in worship, Music thus aids in developing character by helping hand-play, write, and down, his body pulse responding on men, draw water with your own once his inhibitions were broken music make this test yourself. Sing a nostalgic melody such in courtship, in regulating the moods. In the seven- us regulate our emotions. Plato may have sensed this compose yourselves?” spirit freed. Every last person whose urge relaxed, and River and follow this up with the lively teenth century Robert Cassiodorus in Burton’s “Anato- when he wrote in his Republic: “Musical training is might have prescribed that para- made continuous as Swanee I think Schumann him to practice and persLst over Monday impelled Battle Hymn of the Republic and notice if your pulse my of Melancholy” (circa 1610) says that music is a more potent instrument than any other, because to all critics as obligatory reading graph nrosrress. their into inner work-weeks a year. (Yes, even doesn’t quicken. vested with power not only to banish grief, but, “it rhythm and harmony find way the morning’s coffee forty enough, the plane of the subject’s mental Curiously music influences the somatic or bodily functions doth extenuate fears and furies, appeaseth cruelty, places of the soul on which they mightily fasten, im- critics need long vacations!” ultimate progress. How New York had little to do with his capacity has significance for us and for music therapy now being abateth heaviness, and to such as are watchful, it parting grace and making the soul of him who is edu- Big Bad Wolves? special manifestation of Who's Afraid of the it seems, is quite a Music, colleges. It means you have in music a causeth quiet rest; it takes away spleen and hatred . . cated, graceful, or of him who is ill educated, un- dispensed taught in playwrights against the New for Leisure grace. It is the one gift lb- has “revolt" of certain Music God’s infinite there is need, or a relaxer when you’re it ernes all irksomeness and heaviness of soul.” graceful.” The through stimulant when this department no to all human-kind. To enjoy it drama critics has amused deeply concerned with the impartially jittery. Music is unexcelled in helping to bring a Modern psyschologists might explain this in this Music can also change the direction of an action York Scientists have been so even too inquiring, “Why not a mutiny participation does not require a rrade A or end Musicians are now urgency of the pacific control of atomic active patient down from high tension. A doctor told me this way. Our feelings differing in intensity, can be roughly started in the mind. When the Welsh coal miners were vitality immediate or slow, of critics?" Phooey! Why waste Advancement will be swift against the music power that they have not yet had time to explore the B intelligence. story. A patient, suffering from nervous breakdown, classified as pleasant and unpleasant. It may therefore on strike during World War I, England was faced with futile pen-pushers? The time to the amount of intelligence ranting against those cheap atomic power is avaUable course, in proportion so keyed up she couldn’t sleep or even keep still. be claimed that it is impossible to have pleasant and a crisis. General Smuts was asked by Prime Minister au vistas beyond. After with was a managers and artists sat up study. Some persons are blessed has gone by when industrial, commercial and domestic purposes, applied to its She was approaching hysteria. The physician began unpleasant feeling in the mind at the same time. Lloyd George to go down to Wales and see what he thrown for voices, keener order to collect the critical garbage digital coordination, better night in what then? When all the necessities and luxuries are more facile playing a of Ave Maria (Bach- Consequently if a person has the latter, it is possible could do. He found the miners grim, hostile, adamant. after a New York recital Alas and with zeal, perseverance, out the morning shall we be bored to death, and ears than others; but anyone over. She finally calmed down to crowd it the former. But he was a clever strategist. Before saying a word thrown in our laps, Gounod) , over and out by the Gotham Givers of the Law fallen become proficient in music- alack! How have undergo other and more vicious degenera- and good teaching can enough to sleep. It was the first she had had in three Dr. Max Schoen of Carnegie Institute of Technology of his talk, he asked them to sing Land of our Fa- of the Hud- promptly disrepute! The great hinterland west into tions? Reams have been written of the immediate making. days. From then on she began to relax more and more conducted an investigation involving 20,000 people thers, the Welsh national anthem. Haltingly they on putting its own critical stamp on resent in every son now insists rebirth. No ques- have found the seeds of music ) York hacks necessity for our moral and religious I until she recovered. scattered all over the United States. Subjects listened began, then swelled the refrain into a mighty chorus. and cares not a jot what the New later in life these were artists, tion of that, our hearts will require renovating if we person I have evfcr taught. The Probably because of its influence on the somatic to phonograph records and marked on a chart their The song ended, Smuts made a brief plea to preserve have recently proven this. Some germinate, t write. Many artists what of our heads? Won’t they discovered the longer they took to the senses. in- emotional reactions. significant the “land of fathers” for England. received either the are to survive. But functions, certain music heightens For The thing about this your and departed excellent performers who have imaginative, and often need considerable overhauling too? It is obvious that required loving, resourceful, stance, you can see better. Urbantschitsch proved that study was that undesirable moods, when present, were Upon arrival, he was congratulated on all sides. The condescending nod of the third string scribblers, pupils. curt educational theories and processes will teaching to develop many of the seen, their chiefs have many of our unorthodox color, which at a distance could be only dimly often changed to desirable ones. People listening to men had returned to work. The song had worked the or the out and out opprobrium of music can become have to be junked. For example, what are we going to I am sure that the true teacher of could be made brighter when certain notes on a tuning absorbingly beautiful music were relieved of their feel- magic. places for themselves in the e promptly made enviable development of a world wi pianist stacked do about the excessive vocational training we offer a significant force in the fork were heard. Those of high pitch seemed more ings of restlessness, nervousness, worry, fear. Here’s a Dr. Ira M. Altshuler of Eloise Hospital in Detroit, fields of our land. One panned ca concert vocations will become obsolete? What program. What other activity season, including a dozen when a hundred music-for-leisure effective. Print barely legible was read easily when the finding of particular importance. It means that music says that music affects all centers of the brain simul- up sixty engagements last pleasure, an will we do with all the time on our hands after we bring the release, relaxation, creative tone. Tonal stimuli, he is a prime for regulating the emotions, taneously: those concerned with thinking, the emotions, orchestra dates. On the other hand, effort was accompanied by medium quelling coveted symphony offers? What o grotesquely blown-up have finished school, read all the books, seen all the ego-satisfaction which music found, also heightened taste, odor, and touch. These the eruptive ones, and cultivating the desirable ones. coordination, equilibrium, bodily rhythm and creation. one “artist" whose virtues were a all “head, heart, and that it afforded a movies, and traveled to the interesting spots here, leisure-pursuit offers a better findings are being applied now particularly in offices Aristotle voiced the same credo years ago when he Using music on the mentally deranged, he succeeds by the New York critics (so much so even on the Moon or Mars? What then? finding the going tough. The defla- or balance? , where people are doing mental work. said, “Emotions of any kind are produced by melody occasionally in causing flashes of rational thought. comic spectacle) is of m provinces has assumed Education has never trained for leisure; and leisure For such a project we need thousands and rhythm, therefore by music a man becomes accus- Equally important is the effect of music on our out- tion of this performer in the homes will be precisely the most important consideration of teachers in schools, factories, colleges, and Music Increases Energy tomed to feeling the right emotions.” Aristotle look. It can dissipate the corroding influence of a of a debacle. ^ had the proportions their co omnipotence of the New York this imminent new age. Leisure is not recreation. Rec- musicians trained for leisure leadership in But a matter of special importance is this—music advanced ideas on regulating the state by music. Gov- defeatist attitude, of cynicism, foster the conviction The fiction of the themse unchallenged. A prominent reation is “killing time”—however pleasantly we may munities. We must have teachers who are actually gives you more energy. Down the ages, people ernment by music may seem far fetched but it has that life is worth living, providing of course that you critics has gone too long who and for all, murder it—sports, movies, travel, comic sheets, night music teaching, work distinct possibilities of great. magazine recently exploded this myth once artists—who love music and have known this and applied it to the job in the which have not yet been developed. keep in company the quite and ms reported that a second string “critic” clubs; but leisure is another matter. Dr. Hutchins learned to analyze the processes of music song. Today we know why. Scripture was probably the Music is a language of the feelings. In his “Psy- when it gleefully nc read a defines it in part as “that portion of the individual’s teach c° Stimulates of New York’s prominent newspapers mental study, who can cut corners and first to demonstrate it experimentally. With the thumb chology of Music,” Dr. Schoen states that he had sub- Music Hope and Faith of one eis through much of a time which he devotes to his moral and intellectual incomparable regis- jects listen recorded book (it even named the book) tratedly, who want to share the and finger grip, he exerted all his strength and to selections and report specifically Rachmaninoff once told me what he believed to be next development, and in the participation in the are sy P singer's program, and finally seemed to sleep. The life of the of music with others, and who above all tered four kilograms without music. Hearing the what the music did to them. Invariably they began: the secret of a great composer. It was, he said, his received! I am sure community of which he is a part.” Recreation is .” best she syn- individuals. his grip “I feel like. . “It gave .” day his review was the thetic, understanding, all ’round Giant’s Motive from Wagner’s “Rheingold” . me the feeling. . . Here capacity to “exult, to burn with a white flame no mat- of the flippant, insin- onymous with idleness, while leisure makes a just-aroun this is not an isolated instance contri- There is no time to lose. In this increased to four and five tenths kilograms. The Slum- are a few reactions: “A restful feeling like one going ter how fate treated him.” Fate seems to hand the artists are subjected. bution to the higher civilization and development of co cere treatment to which of corner age it is apparent that all matters ber Motive from “Walkure” decreased his grip to three down stream while swimming. I wanted to throw my- great some extra hard blows possibly to test the steel grown up. It knows the individual. Educators will be intolerably ca ^ Yes, the country-at-large has hard and convenience will be so thoroughly taken and twenty-four hundredths kilograms. self back and be carried along.” “A great feeling of of their sinews. Rachmaninoff wrote the Second Piano what’s first rate without pressed when they, recognizing the an not only what it wants but lateness of the that one morning millions of us will wake up Buscher showed that more energy was often made happiness, followed by expansion inside leading to a Concerto when so troubled with anemia, that raising arbiters. In music we hour attempt to evolve an effective the help of these self-appointed “Education for that External c0™p available because effort was marked by strong great excitement and breathlessness for a moment.” effort. we have nothing to do. “ ome the his right hand was an During the last twenty- revolts. Good taste and sincerity lead the Leisure” program in these brief remaining b don’t need moments. having been removed, the world will suddenly ._ rhythms. On many occasions, a military band playing Dr. Schoen explains that the feelings aroused by five years of his life Beethoven was growing deaf. That appraisal. It is gratifying to witness the And, alas for them, none of the ancient cliches will and way to just be psychopathically bored, or burst into new ^ a'lively march has given new life to men wearied by music are not those of ordinary life which are brought was when he did his best work. Handel wrote the people finally deciding these matters for themselves. of any avail. Instead of haphazardly educating a a pa small ible infamy. The music teacher might help long marching. Professor Tarchaninoff demonstrated about by specific situations. Thus you are in a dreamy, “Messiah” when bankrupt and ill. Schubert almost soundest music critics, Robert Schumann, percentage of the people, they must bli»fuuy One of the produce M L it to go this principle finger ergograph. When a restful mood, or you may be irritated, worried, restless. turn to the Art of Music . . . perhaps „ with the never had enough money to buy himself a good, square knew a little of the processes of music-creating degrees (Master of Leisure) for all of us. atom-c who Several gen- to the piano, which by this time will be fatigued subject was barely able to raise the weight, These moods of ordinary life are usually either good or meal. wrote the following paragraph; I erations would be required to and music-making produce the necessary- an“ gay music his fatigue vanish and he got off bad. The musical mood however, is always atom-perfected, (I pray, not atom-played) "eg caused to good and But the music of these composers shows no self pity, quote an excerpt from the excellent volume, “On Music army of wise educators to implement such a program “At last I can nourishing rn to a fresh start. Slow, sad music did not have this it is also one of tension; he calls it “repose in tension.” no defeat, no cynicism. It may reveal yearning, sorrow, (Pantheon, It would spend the years '"f. g and Musicians,” by Robert Schumann ... take a hundred years of cat-and-mouse draa„in spirit ... and boy! will I have a good time effect. This means that the bodily functions are stepped up struggle, and often does. But its keynote reflects the watching to liquidate the stuffed ^ Publishers) shirts alone. ring, w but all vital out the music, will I make it sing and The fact that music increases energy, especially these elements are balanced. “The person underlying optimism, hope and faith of the universe. “It would be the victory, the triumph of a good So, granted that the time remaining is hopelesslv it reasons for has therefore attained a state of consciousness,” laugh with me, and cry and dance!" . when is running low, is one of the big says The slogan, “Music Study Exalts Life” created by the if it could advance matters so that criticism inadequate, what can be done to stnr. nn ... thoU newspaper stop up the gap? It’s ten AU that will be will be those its success in industry. Many factories seeking em- Dr. Schoen, “that is free of all worldly associations Editor of The Etude, has ( Continued on Page 465) longer be read; that the world, through too late to interest millions of needed then _ g would no adults and young peorile sand good it? Are we g productivity, would not attend to what was writ- in purely intellectual pursuits. teachers. How about sheer No one in his right ready to step up and take over the job? AUGUST, 1947 "MUSIC STUDY EXALTS LIFE’ 429 "MUSIC ” 428 STUDY EXALTS LIFE the ETVDB Music in the Home Music in the Home A Novel of The Opera “Verdi.” By Franz Werfel. Pages, 438. Price, $2.95. Publisher, Allen, Towne & Heath, Inc. Here is a book written many years ago and first pub- lished in America two decades ago. It sold a relatively went out of print. Meanwhile, Music Lover’s Bookshelf the Air small edition and then The Etude Programs on the author attained international fame as one of the Summer Symphony foremost writers of our time. His novels, “The Forty Days of Musa Dagh” and “The Song of Bernadette,” were international best sellers. Here is his novelization of the life of Verdi, written originally in German and translated into English by Any book here reviewed may dramatic sense sets the Helen Jessiman. Werfel’s stage be secured from in the first few pages, in which he pictures Verdi in a THE ETUDE MUSIC MAGAZINE at the Canal in Venice. The Italian gondola on the Grand price given on master discovers another gondola approaching, in receipt of oCindsay Wo, gan which are seated two majestic figures returning from cash or check. .Alfred an operatic performance at La Fenice. They are Rich- ard Wagner and his wife, Cosima. The year is 1883, the closing year of Wagner’s life. The German master seventy years old and has written himself into the from 8:15 to 8:30 A.M., EDT, over is classifica- of folk songs the male singer Network, Monday Valhalla of musical art. At this time Verdi also is (JA. 1/lljeredith Melton, Columbia Broadcasting through Fri- hj Cdadtman tion was James has written all of his famous operas, local station). Scott seventy. He up of days (check your introduces his star of “Harvest to “Aida,” but he feels that while Wagner has risen to the selections with brief comments, and accompanies him- Stars,” and first in heights, he (Verdi) is written out. He has high rating great category self on the guitar. Scott’s among American female singer struggled to write an opera upon “King Lear” and has of Tasker Howard are those of one credited to ills George Frideric Handel (nde Georg Friedrich Handel The notes John star ballad singers may be combination of was , found himself lacking in inspiration. As the gondola, and pronounced Gay-org Freedirich Hayne-del). His who has made long researches into Fosteriana, and studied piano, composition, and voice Voice of Fire- talents. He at redoubles his efforts of the with Wagner, passes, he and, at life full of incidents which call for vivid narra- are exceptionally informative and helpful. The illus- of Kentucky and tire Louisville was In the occasional the University Con- stone. the age of seventy-five, produces his magnificent tives. The author has made the most of this oppor- trations are especially delightful, in that the artist has guests of servatory of Music. Later, he became a member of the soloist group, Othello,” far excelling his previous works in musician- tunity. captured the atmosphere of one of the most romantic Telephone Hour Fred Waring Glee Club and one of Waring’s arrangers. the ship. At the age of eighty he astounded the world with Handel walked upon the European stage at one of periods in American history. The book obviously will places It was he who planned and arranged the folk song chosen for first his brilliant and effervescent “Falstaff,” which has all His make a much prized gift. Singing. the most impressive eras in European history. Marian Ander- series America, I Hear You work, included the vitality and lightness of the of a youth. Many childhood and youngmanhood in Germany, his visits Ezio Pinza, Artur Beginning June 12th, the Concert of Nations pro- “Die Meistersinger” as son, rank “Falstaff” and the great- to Italy, and his mature life in England, where he, and Jascha gram (NBC—'Thursdays, 11:30 to 12 midnight, EDT) Adventure in America Rubinstein est of musical comedies. chameleon-like, fitted his great talents to British taste organist, E. was taken over for sixteen week:, by Canadian Choral the retiring Heifetz. The The ostentatious Wagner and Verdi and thought, are all presented in the most engaging “Two On a Continent.” By Lili Foldes. Pages, 254. first These broadcasts are all planned aijd worked Power Biggs, took groups. were totally different types of men. Werfel stresses manner with a well integrated historical background Price, $3.00. Publisher, E. P. Dutton & Co., Inc. instru- in cooperation with the Canadian Broad- place in the out by NBC this remarkable contrast. The work is full of incidents of the period. Your review editor cannot imagine a more delightful his first four recitals were given by mental category for casting System. The and makes very interesting reading. Mr. Weinstock’s appraisals of the musical works of book. The warm, sympathetic, friendly manner in chorus composed Bach broadcasts pre- the Leslie Bell Singers, an all-Rlrl Handel are well within the grasp of the average music which Mrs. Foldes reveals to Americans the glories over the Colum- singers, with John Dunvan, harp sented of nonprofcsslonal lover, and are done with discernment. He gives a very and beauties of our own country, as seen through the bia Broadcasting System soloist. The other choral group scheduled to appear Master of The understandable picture of the charges of musical klep- eyes of a stranger, should make us all very proud of this past winter. on the series are the Georgian Singers, the CBS Singers acre, every field, every mountain, and every “Handel.” By Herbert Weinstock. Pages, 369, Price, tomania so often made against Handel. He states: every The First Piano Quar- of Toronto, La Cantoria from Montreal, the Choristers $5.00. Publisher, Alfred A. Knopf, Inc. “Except to the strictest moralist and the professional flower! tet returned to the air from Winnipeg and the Singers from Vancouver. Lili Foldes are certainly the kind of folk CBS Few composers offer more opportunity for color, attributor, the facts in these cases are of little impor- Andor and recently for a new series groups are varied with spontaneous success The programs of these choral drama, or picturesqueness to the biographer than tance. Handel did borrow. So did Bach and Shake- we want in America. Mr. Foldes’ of concerts (NBC—Sun- modern, old, popular, and traditional melodies. If you speare. They nearly always not only improved beyond in his concert tours was enough to make them very days 10:30 to 11 P.M., have not heard one of these programs we believe you recognition what they took, but more often than not happy and to encourage them in a new land. The inti- EDT) . This group, which will find it an unusual and gratifying experience. saved it from complete and eternal obscurity. It has mate descriptions of their meetings in the homes of was heard on the air The annual summer season of the St. Louis Mu- never been claimed that Handel took a whole piece, as Albert Einstein, the Franz Werfels, Arnold Schoen- from 1942 to 1946 also nicipal Opera always has its radio program, featuring Bononcini did, and passed it off entire and alone as berg, and others are most interesting. won an award in the favorites from the group's light opera repertoire. These his own work.” Mrs. Foldes’ description of her girlhood in poll conducted by Mu- broadcasts are heard on Saturdays from 7:00 to The musician and the student will find in this new and the way in which she became the only girl re- sical America. During 7:30 P.M., EDT. over the Columbia Network. The artists work a polychromatic picture of Handel the man, porter on the staff of Hungary's largest newspaper is their absence the lec- from the are assisted by a sixteen-voice chorus and by which may be read at leisure with delight. significant and captivating. Her very unexpected air many letters were re- under ture tours in America, arranged so that they wrould orchestra of the St. Louis radio station. KMOX, ceived testifying to their mu- parallel her husband’s concert tours, carry many the direction of Edwin McArthur, who has been popularity. The musical stage lighter moments and many serious ones, when she was sical director of the St. Louis Municipal Opera's American Folk Song Master ensemble is made up three able to bring to her audiences a feeling of sisterhood productions at the city’s Forest Park for the past MARIAN ANDERSON of Adam Garner, Vee Loms “A Treasury of Stephen Foster. Foreword by Deems between all women of all countries. As the Foldes saw summers. This is the fourth summer the St. Padwa, Frank Taylor. Historical Notes by John Howard. Arrange- the New World they found here a life unfettered by Mittler, Municipal Opera has been presented on the Columbia Musical and Edward Edson. During their absence from ments by Ray Lev and Dorothy Berliner monstrous restrictions and conventions, which soon HE FOURTH ANNUAL poll made by radio network. Commins. thirty-six city of six hundred music and radio editors they made a concert tour, during which broadcasts Illustrated by William Sharp. Pages, 222. Price, $3.95. made them zealous Americans. It is heart-warming to America Among the singers in the played to packed to be heard throughout the country hrought forth some in- they halls. Since little music has Harre Publisher, Random House. read of their modesty and earnest desire to be good T from St. Louis are Hugh Thompson and Mack in this year's awards. The National been composed expressly for four , most of the Stephen Collins Foster is an American musical pin- citizens, and we recommend this book as one you will teresting results of the Metropolitan Opera Company, Christine John Company received a special award “for music they use is arranged by members of the quartet. nacle. He stands alone at the top in his field. The only want to have as your own. Broadcasting son, Roecker, Their repertory includes Wiima Spence. Robert Halltday. Edward serving most faithfully the cause of serious music dur- works by most of the great an one who approaches him in the number of his works Brenda Lewis, Wilbur Evans. Margaret Spencer, Arturo Toscanini was given the award classical composers as well as many contemporary and in the widespread appeal of his memories is the ing the year.” ones. Anthony Aesthetics air, and for the second Eileen Farrell, soprano, and Charles Marlow. Negro, A New as outstanding conductor on the Fredericks, bari- fro James A. Bland, composer of Carry Me Back to tone, taken The CBS Symphony Concerts, heard Sundays year he and the NBC Symphony Orchestra won top have over the Family Hour for the summer Old Virginny. There have been many fine collections “Meaning and Truth in the Arts.” By John Hospers. 3:00 are of the year— series, with Ted Malone as host, to 4:30 P.M., EDT (Columbia network'. honors for the outstanding musical event Frank Gallop as an- v of the songs of Stephen Foster, but none quite so well Pages, 252. Price, $4.00. Publisher, The University of nouncer, and Tom Jones summer replacement Philharmonic-SympM • this year’s event being the Maestro's production of and his Orchestra of the assembled, none quite so effectively arranged for piano, North Carolina Press. (Sundays s. 5:00 to 5:30 P.M., Orchestra summer Berlioz’s “Romeo and Juliet," presented on February 9 EDT—CBS). These gifted young programs. In the past, the none quite so exquisitely illustrated, none quite so Why does beauty have to be explained? Does the singers each have two phony of a lc and 16. Awards were given to Serge Koussevitzky for solos and a duet, and Jones broadcasts have been somewhat finely annotated. Foster’s songs were estimated to have ornithologist see more beauty in looking at a peacock and Bi> with the Symphony Orchestra his Orchestra have an interlude from the Philharmonic-Symphony broadcasts. been about hundred. This collection fifty feather under a microscope than does yokel his performances number. Tire show all two contains a in seeing adds up to familiar year, usual > n American Broadcasting System, and to Dimitri and favorite the programs of un , songs, of which will refreshingly the gleaming bird strutting around with its tail over the songs and light opera have all been e many be new to some feathers airs, and makes for and worth- Mitropoulos, regular conductor of the Minneapolis good warm weather listening. the programs are as interesting and readers. Mr. Deems Taylor, President of AS.C.A.P., in shimmering in the breeze? It is given to only a few for his appearance as guest con- Tom Scott, the folk singer as any to have Symphony Orchestra, who is sometimes referred winter fare. It was a great treat his customary ingratiating style draws apart the cur- philosophically minded people to become true aes- Nation series over the to as the young American Tlaorn- ductor on the Orchestras of the troubador from Kentucky broadcast of May 25 given over to Virgil tain leading to this new excursion into Fosteriana. He theticians—to cultivate, through analysis and syn- has taken National Broadcasting System as well as for his guest over a five-a-week, fifteen °pera, “Four The f8 calls our attention to the fact that Foster’s average thesis, a higher appreciation and discernment of minute program Saints in Three Acts.” by appearances with the Philharmonic-Symphony Or- words of Gertrude cleverly ha^ annual income was $1700. and notes that if he had beauty. Your reviewer has kept in contact with mod- Stein have been as enter* chestra of New York. the composer, and the whole thing proved been living in A.S.C.A.P. days it would have risen to ern musical expositions upon aesthetics, from Hanslick its conductor, Donald ^ The Telephone Hour and taining““6 on the menu-theatre. ten times this amount. Mr. Taylor has not omitted to and Adolf Kullak, to the present. Dr. Hospers’ book me air as it did in methe oUp a first award for the fourth straight 8 Voorhees, got Negro cast, almost the origin call attention to the fact that the opening phrase of is especially useful because he coordinates the other entirely from ‘ year, and The American Album of Familiar Music was which HANDEL Old Black Joe is identical with that of the Sirdar’s arts with music. Particularly RADIO first presented the opera, were praisewo valuable is his section selected best in the “musical variety” class. First in the March from Ippolitoff-Ivanoff’s “Caucasian Sketches.” upon artistic truth. preserving the wit and gaiety of the performan *• ^ Painted by one of his contemporaries, Kyle. All gave on P the Impression they (Continued AUGUST, 430 "MUSIC STUDY EXALTS 1947 "MUSIC STUDY EXALTS LIFE” 431 LIFE” THE ETi,Dl — .

HEN we play the piano, our desire should be Music and Study to produce every sound of which the instru- W ment is capable, from the loudest to the soft- est. Poking down the keys gives us just one kind of Music and Study tone, and that the least desirable. A slowly depressed key will make no sound; but the speedier the key is depressed the brighter will be the sound. We should Unfamiliar Chopin Table strive to make our tone as musical as possible. Round beautiful tone is produced through speed, and all A When I study a piece I like to know At present Teacher's normal muscular balance. If a Tone background. attack, with a Piano its of Good about weight Securing that I can The more about the Cho- I would like to learn key is poked, the tone is hard; but if a key is caressed I ve pin Tarantelle Op. 43. In everything and his the tone will take on a musical quality. In this way been able to read about Chopin by seen mere Conducted away from the percussive quality which may compositions I've never once cheers for old-fashionism we get was it three when this mention of this Tarantelle. When sometimes be valuable; but as a whole, is not desir- comparatively sincere appreciation of music • why is it so means writ- written, and able. The sharper the tone, the more pointed the finger, and seldom played? ^bumeAnil pose or pretence, £art air little known without for EL rice ten that T. H., Washington. Wan and the softer the tone, the flatter the finger. “pleasure of the ear” vaunted by no less To drop arm weight, or dead weight on the piano, French-American than Debussy himself. Recently as The staunchest admirers of Chopin Eminent I will produce a thick, dull, organ like tone. To strike a perused through the "Album of SECURED EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT this work is far from Favorite tensed muscles will produce a hard ugly white FROM NOTES must admit that Conductor, Lecturer key with Pianist’ Pieces" by Cdclle Chaminade, I was im- style and conveys but little of tone. It will sound like a school boy who punches the his usual the the Teacher pressed anew by genuine beauty of the Italian atmosphere suggested by and in 1841, Autumn, the poetic atmosphere of The title. It was written at Nohant year Fauns, the rare elegance of Pierrette him to continue piano ploying and published in the fall of the same and As a child in Chicago, Earl Blair played for MacDowell, who encouraged the Flatterer. You may rest assured early instruction, but at the age of fourteen he began the study of piano under together with such capital works as The that as a career. He had no type will always be Spencer, and theory with Adolf Weidig. He was working for the Aetna Life Insurance Company F-sharp minor Polonaise, the third Bal- music of this welcome Allen of and studying piano at night, when Dunstan Collins, then manager of the Chicago Symphony Orchestra, the Fantaisie in F minor. to a vast majority listeners among lade, and number accompanist with the Crawford Concert Co. This covered the considerable according to the proud to count offered him a tour as soloist and Mabel Chopin himself expressed varv each year whom I am myself. I at the end of large cities of the West, and upon his return from this successful tour Blair was offered an opportunity to value when he wrote to or exclusions sometimes think that one whole recital doubt as to its of laureati piano pupils at the American Conservatory. After accepting the class it was found that foreign students teach a class of sending you the Tar- year. Several devoted to the light classics (including Fontana: “I am the school but his interests turned entirely to playing the piano, and he has been at this school in the capacity of copying (places d’etranger). Raft, and antelle and will appreciate your can be admitted Moszkowski. Godard, others teacher for over forty years. Later he had the privilege of studying with Harold Bauer in Paris, and native ap Troupenas’ and examine superior to their larger works didn't con- Lhevinne, and Zeisler. — Editor’s Note. it. Please call at onlv if they prove who besides attending the classes of Godowsky, the names songs he has include i the collection of Rossini pheants (past records sider it unworthy of hcmselves to write there is a Tar- Guiomar Novaes, and published. Among them of , much charming “drawing room” music) whether consist of antelle in F. I don’t remember Beveridge Webster). Awards would prove a success ful venture. It would Correspondents with or 12/8. This has no letters accessit, second prize, it is written in 6/8, meat are requested to limit second accessit, first certainly be a happy departure from Words. high- regarding my composition it- to One Hundred and Fifty latter being the which importance and first prize, the "long hair” progran in non- exer- like first of muscular action. Bigness of tone can bs carried to finally, 2, 3, 4, and 5 held down together. These but I prefer that it should be one student may take torture our auditory self, est of all; but sensical lucubrations cises light floating arm, of the en- another the limit of the pianists power by forcing the arm must be practiced with a a that of Rossini. If the meter first contest, while death, and set up new prize at his system, bore us to flexible wrist, and light finger stroke. not correct, then years and weight, providing that proper flexibility is used. As the a closed manuscript is stay the time limit of five vapidity and Ineptitude. The may marks in tone lightens, this force becomes less, and must be car- it to Troupenas, but make resemble the requirements do not remit and they will reach it. As to the love music that is in- indefinitely never public will always ried to the last degree of delicate tonal effect, by re- Bringing Out the Melodic Line will be annoying for you to pennies at a B.M. a new copy. It blind fiddler who scraped for to enter the Conservatoire, something to say.” The needed spired, that “has lieving the point of attack, to the point that the arm As greater volume is desired, more arm weight must thing so often, but I hope fifty years, All that is copy this bad same street corner for would be of no help. that call, and they the degree light classics answer in air with no appreciable or great be added. The bass tone and the melodic line must anything worse for a long progress, with ability is suspended mid not to compose twelve hours a day without is an advanced performing of their own in mu- needed should find a place tip, finger stroke always supported, in this convey the Here we can disagree with tone, ab- weight on the finger and playing with be and way we time to come.” the same single tune, scratchy coupled with a solid musical background, in mine. he sical libraries. They have one only. excellent exercise for developing this tonal story that we are trying to tell the audience. Fannie as we did with Debussy when notes! The worst An Chopin, sent pitch, and wrong when the crucial test comes you dis- so that the other hand, if the incoherent all Zeisler without the to publisher Fromont for one who On palette is to study the playing of scales with grada- Bloomfield said, “Chopin, played remonstrated thing about fumbling is this: “better than the other fellow." make further no- can be cord of slmlll-composers happens to tions of color from the loudest to the most delicate bass tones would sound beautiful.” The bass can also having brought out, without practices it and makes yourself allows it to occur One recommendation: prepare of my piano, Reverie which he its way to the music stand tone, and visa versa. sound beautiful without the treble; but, when you tice or approval, the more imbedded and more dif- all it steadily thoroughly in sight reading, and above to where I think is doubtful it promptly continues on To acquire a correct arm line one is obliged to watch combine the two, and balance them properly, a beauti- tersely termed ‘‘no good.” It correct as the months roll by. ficult to in solfeggio; for if your beats are uncer- waste basket! will ever it rightfully belongs; in the the central tendon of the hand, to be sure that it points ful result can be acquired. If a pianist overlooks tonal the Chopin Tarantelle little. The only hope is that Mothers can do tain, or your silences cut short, your wide popularity of the Reverie; years toward the elbow. This again is a natural function of balance, he misses one of the biggest phases in piano reach the that when your student grows a few except that of being recognition from chances will be slim, the arm, identical with reaching to pick up an object playing. but it should gain more settle down and conquer older, she will eliminated from the jzery first! Tune BLAIR for it is bril- The “Clair de EARL from a horizontal surface. When playing chords, and bass notes, if the player pianists and students alike, an impatience and agitation caused per- besides, excel- giving mea few stress tops bottoms of chords, liant, short, effective, and conditions prevailing I would appreciate your desires to the and the haps by the hectic * of finger agility points in the correct r.-ndttlon of The Thumb the weight be turned toward those notes, which development flash . . piano because he hates to play it, and would like to must lent for the in the world today: rush . . Three Cheers for the Liqht advised t Clair tune 1. 1 hove been de flexible, Tire teacher generally finds the thumb to be the causes the elbow to turn toward the body. If the inside rhythm. >ry tone by balanced muscle action will produce a light, bright I the classics up to the so-called Etude of October 1940 under the play change of fingers as needed. tone. The bigger the tone desired, the more arm weight go around the object that it wishes to grasp, and to on to these tones, and the elbow will naturally turn Fumbler The the twelfth grade. I also play such pieces as > advise Time.” This M. M. speed would y and speed will be required. come out at the side of the hand, and play up and away from the body. It is all a matter of forearm turn. title “Take Time to Take the Fairies have had a piano pupil Queen of by Smith, and similar played 3. Would you For two years I to be deal more down, under its own power, without an armstroke. It The intensity of the point of attack is just as important play any article remains of actuality and the rem- pieces. I play this piece because my throughout the P A tone pulled toward you has a great age fourteen who cannot seem to tain the una eorda and mis- still are friends, who do not care for the classics, that are n ’ beauty than a pushed tone. If you poke someone with should be developed to the point where it will balance as the driving rod of an engine. All of the joints leading of her studies without fumbling edies have not changed. They 4. Do you wave the ch >rds she plays her like it. Some musicians smile sarcastically in an unbroken takes. No matter how long self-control, composure, and a general with a broken wave l.oe. a stiff, pointed finger it is offensive; but if you use a the speed, and flexibility of the other fingers. Why not to that driving rod must be “oiled” to the last degree. are never satisfactory. I have when I play it. When they teach some of Especially the tost one? pieces they attitude of placidity toward the problems succession? caressing motion, with the cushion of your finger, and make every piano stroke a natural stroke? One of the What is the job of an engineer? To see that the joints done everything possible to have her play the modem music, no one cares to hear ^ mistakes, life. it. Do you think is pull the stroke toward you, it produces a friendly feel- great pitfalls in piano playing is “thumping the thumb are well oiled. What is a pianist’s job? To keep his well but she continually makes of every day there any harm in be- keeping up these forgets sharps and flats unless marked old pieces? ing. This same law is applicable to the tone that may with a forearm turn.” Pupils have a tendency not to diaphragm or body, shoulders, elbows, and wrists re- her mother —(Mrs.) E. P. P., and conciseness fore notes. Have contacted Tennessee. I like the directness be drawn from the piano. We hear so many people play use the individual thumb muscles at all. They hold laxed (oiled) but see e >’ about her practice several times, Wants to Study Abroad feel sure t your questions, and I the piano it were machine. machine may the thumb stiff, and this habit must be eliminated discouraged and worried as though a A no change. I am you please give me information Any harm? I countless practices enough Could should say not! In my be of great Interest to be dexterous, clever, but It cannot music, before a balanced scale can be produced. Handling the Different Schools about her. I don't feel she and make Can you regarding the necessary requirements and opinion you can U certainly is no credit to me. only gain by doing so. preters of this numbe r, the P°P ” and the a percussive instrument, is The quickest and best results can be obtained by a In interpreting the Bach and pre-Bach school, we and qualifications needed to enter the Paris d piano although suggest anything? for these pieces are COMWPW. Conservatoire (). Is it necessary to written pianistically. which seems to Increase capable of producing musical sounds. People fail to series of very simple thumb exercises. Clench the four must employ the greatest finger dexterity, clarity, and E. M. M., Oregon. — (Mrs.) they r have a Bachelor of Music degree in order combine a maximum of brilliance phenomenal P °P° realize that key be played fingers, and press them down on four keys. Be sure lightness, and speed of muscle action. The harpischord spite Its already Le the number of ways a may to enter the Conservatoire; and approxi- with cor wouldn’t worry a bit a minimum of difficulty, and they to the una ®“’ to obtain thrilling result. that the arm is relaxed even though the fingers are is not played the same as the piano. It would break If I were you I mately how long would one have to attend 1—In addition ^ a yours: please your listeners, t0 about this “fumbler” student of the Conservatoire to obtain a Bachelor of a point too fre- so-called “loud pedal” ought Fingers should be trained, wrists should be trained, tensed. Move the thumb forward and backward, and under the strain. The pre-Bach school is on a par with — quently _ but done your duty and cannot be Music degree? M. F. S., Pennsylvania. overlooked these days. To the sustaining Purp and the entire arm should be trained. up and down in a circular movement, using a very the French school of piano playing when it comes to you have me discreetly, not for _ nance condition which name of Sidney Smith soft re held responsible for a brings back many to bring more quality and light, flexible stroke, or loose stroke, curving the first delicacy. All of the early contrapuntal compositions attempted to im- This question is welcome, for it has a treasured childhood tones Controlling Weight clarity, you have so earnestly recollection, and I to the tone. Connecting » Arm. joint of the thumb, then use only up and down strokes must be performed with and lightness of 'at- often been put to me both verbally and remember ye The culprit is your pupil who fireside evenings in course With muscular flexibility, and suspension of weight, as you would normally play in a scale. The same ex- tack; but following the same principle of balanced arm prove. of , Normandy substitution-- remains , writing. The Paris Conservatoire . a oUt totally the power of con- in is run Played should be there are variety of tone ercise be practiced with the open, well weight, flexible muscles, and intensity of the point of seems to lack La Harpe EoU - Metronome speed many ways to produce a may hand and this on a basis entirely different from what Te 3— you that ’ Le Jet centration. I can assure d eav- and other whatwi— , qualities. One should strive for tonal control from the arched, and the four fingers pressing the keys down attack. compo- 50 to 52. But rememoerremember {or everywhere prevails here in America. The degrees of sitions " “od f1 case is not unique, and from by that distinguished ** ultimate in legato to the sharpest staccato. Legato to the depth of the dip as in the first mentioned exer- The German school, should be played with a bigger English once said: “The metronome * ]d complain about young- Bachelor or Master of Music do not exist, composer-teacher. snhoU we hear teachers She played some Gott- Discreet flexibility playing requires the transference of arm weight from cise. Then do it with the finger tips just touching the tonal concept than the French school. The Debussy (often too and the Doctorate is granted only for one measure!” sters who want to play pieces schaik too, and how we one tone to another with proper balance of weight. If surface of the key. One must be careful that the wrists Clair de lune must be played so lightly that the pianist enjoyed it! Mav them slowly and Law, or Medicine, in other institutions. be the rule. difficult) before studying candldl >’ that I the student thinks about how the upper arm muscle is are at a uniform height, and that no arm turn, or arm must, figuratively speaking, remove the bones from his still do. that I 3 they stumble at every Neither is there a system of credit-hours, No. _ , _ uius! carefully. Result: many c ^0 going to work on his forearm muscle, he will very likely weight is used. Only the thumb muscles should be used. arms and hands. In the ephemeral compositions of the PieCes Perennially 4— "arpeggioed" pay no attention to in- or a fixed duration of study. Everything freshre h and °v All such ession. measure or more, and appealing. Le s not get anywhere. Instead he must leam three things. Then the passing of the thumb should be learned. French school, great tension should be dismissed, while Banjo takes m unbroken jt time, phrasing, or marks of is based on the “Contest” principle. To be be played in an jc cidentals, note (1) To carry the arm and control the weight. (2) To Depress the key with each individual finger, and pass the modern percussive school is handled in still another admitted, you will have to go through starting from the lower hand- kind; in one word, they make a de- a ? ht drop any the the arm with a full weight. (3) To suspend the the thumb under each 2, 3, 4, 5. Then similarly under way. Stravinsky, Bartok, and Prokofieff must be played try first audition, or elimination; if hand the top note of , nds plorable “mess” out of anything they you pass to ’jh.h lri arm that weight. These controls are the natural functions 2 and 3, held down simultaneously, then 2, 3, and 4, and with great intensity of muscle. The ultra modems cer- mental make-up it successfully you will be qualified for ** raalms of The widely accepted Idea ve to perform. Unless their gentkremle^Hgentle reverie. Old v8 final. fanned, Ye whcn ” itself and they learn the value the The number of students is lim- haps, r per- should be played together ect In modifies and naive too. corr AUGUST, LIFE But “high-filmin' •• no 1947 "MUSIC STUDY EXALTS 433 application, it will go on ited to twelve in each class, and vacancies line does not.go through is of patience and attitudes and sarcasms notwithstanding the present case. 432 "MUSIC STUDY EXALTS TIFF” 4 . — .

Ex.6 k ATTISTINI, the Incomparable Master of Bel Music and Study line Evangeline Lehman, in The Etude expressive. The melodic must and* «£ LJ Canto,” by mams J^dM I Mus'c and Study then descend, which speed J for June, 1946, has revived happy memories of and of weignr, and of weight, transference my own in regard to the “incomparable” Battistini. percussive side. tracting tainly lean toward the the many professional singers to be of attack. should As the first of importance with tonal expression is rhyth- actions Of equal to play the pi»n°- sent by the Y.M.C.A. to entertain the A.E.F., in World composition In .learning ie action, expression. Unless the player wants a j musc mic Grace is power, an and War I, I arrived in Paris November 2, 1917. In my must enter prevail. developed, or*. sound machine like, the human element been 7 to athlete’s muscles have and every student days I had got to know well Paris and its pos- Battistini and Plancon The lly, applicable to every phrase must be pliable, natura forms are special de- into it. This means that He uses h These four at to discover he does not stiffen. in this scales, sibilities, so I set out once what was doing as if it were cut steel. the aaimerthlete technical exercise, arpeggios, trills, like rubber, and not sound pianist should copy nartment of time war. the the far sighted exercises, double in the great city in of Almost my first dis- phrase must be stretched, or contracted, as octaves, five-finger thirds, Every tremolos covery was the announcement that on December 1, requires. There is the listen- technical exercise can be feeling and tonal coloring in fact, any used in Voice emotional ^Creation of an emotional !txths- in Mattia Battistini was, as guest, to sing the title role in Two Incomparable Models of the Bass-Baritone metronomic playing. There — when^ As stated before, speed is not the more deadly than pianist ^d forms. nothing should be the aim of the these ’varied “Henri VIII,” by Saint-Saens at the Paris Opera. This than unrhythmical playing; ^ variations. What is wanted is ease is nothing more deadly first object of these treated ha “ was most welcome news to me. For years I had heard flexible thing, and must be •» *"» of finger passages; a relaxed wrist and but rhythm is a T .« and Quickness Battistini’s wondrous voice and art, and also SS“£ 4T»« of these about judiciously as such. control at all times. Out staggered sound achieve. hand’ about his aversion to travel by water, which was as ^rancid g^erd Each four measure phrase should be made to bred speed and smoothness. rhvthms are great as Rossini’s dislike of travel by rail, and would accomplishment to play the forms of It is a great certainly prevent me from hearing him on this side of Noted Voice Specialist of the perfect control, speed, and tonal varia- on a Given Theme technic with the Atlantic. Midwinter usually found him in Russia, Variations be done without exercise. If the Juilliard School of Music tion But it cannot but war had broken his routine and here he was in and amounts to play, who would exercise is interesting Paris, inviting me to come and judge his quality for Jdoward -A. Wolfe work at it? ly not be willing to myself. the usual failures interesting and stimulating, this exer- the exercise as a whole eliminates Besides being Of course I was early in a good seat on the evening spice of life,” sings the but results in a short -r-ARIETY’S the very exercise. productive of noticeable time. later, of which, nevertheless, I have a happy memory. of the even-rhythmed cise is of December 1. The next day I wrote in my diary the Cowper, and variety has reformed my pi devote hours a day to practice, \ / poet, variation it may be y When people could following too brief comments. “The opera (‘Henri VIII’) Cesar Thomson, a celebrated Belgian violinist, and work for you? For the second technique. Are scales tiresome fcause to look for anything beyond the V they had no is stupid, but it gives the baritone (in the title role) a Battistini were the headlines on the program. Con- exercises bore you with their endless Ex. But today in this twen- Do five-finger they had always used. off. Battistini is said to be seventy ventional afternoon concert dress—evening clothes were that you forms good chance to show Does trilling seem so difficult tempo of everything is in- repetition? century, when the probably he is in his sixties [actually he was sixty forbidden, absolutely, during the war—did not enhance arpeggios refuse to tieth — of conquering it? Do your people haven't the time for long, despair stepped up. when I heard him], a tall, rather heavy man, somewhat the grace of the aging figure of Battistini, but his voice these things are true credibly smoothly and evenly? If all measure does the thumb So here is the exercise that flow Only once in every fourth long hours at the piano. slow on his legs, as if from age. His voice is a baritono was in its best estate. His first appearance offered a can overcome the difficulty is you, it may be that you note. The accent short cut, in that it for fifth finger bear the accented their need. It is not a di grazia, weak and flat in pitch in the lower part, but group of old Italian airs and songs, including the fa- in practice that has or answers means of a kind of variety another. The exercise may technique, but it is a short by tossed from one finger to leaves out essentials of good lovely in the upper. He emits it freely and with fine miliar, “ Caro mio Ben.” He stood back of the accom- with helped the writer. but it must be played competent piano technique be played in all speeds, cut because it produces a phrasing and breath control. He sang in French, rather panist, instead of in the bend of the piano, and from and purpose of all technical study is As a matter The problem relaxation of the hand and arm. was possible with the older forms. his French time to time even in “Caro mio Ben," peeked over the since such study complete in shorter time than to the detriment of his production, though adapt the hand to the piano. And otherwise; for if it is to it cannot be played wish accompanist’s shoulder at the printed notes. interpretation of a of fact, 1. diction is better than that of most Italians. I I is the very root of an effective there is a certain played with the slightest strain, could hear him in an Italian opera.” the utmost interest to all 2. composition, it should be of the wrist becomes stiff. As stabbing at the notes, and It is evident that I had not yet often piano students have little or no the Land musicians. But player becomes tired and fumbles True3. or False in Harmony of interest a result, the heard the Battistini of my dreams. interest in real technical work. This lack

notes. . , exercises but in the monot- 4. I feel safe in generalizing that no lies not in a real dislike for exercise is not speed, cries The result to seek from this Perilncnl Q., real Italian ever masters the cor- technical studies. For example: action. ony of will come, but elasticity and quick although that 5. rect utterance of the modified attempted at first, the exercise will be Ex.l If speed is A)r. AJ. Alexander 1 1 la ttheivi French vowels that do not exist in a quick snappy action prepared unbearably difficult. But if only Lj Italian. In my experience I have another 6. fingers in the passage from one note to organist, of the Dr. Harry Alexander Matthewt. gifted composer, heard no exception to this general- playing the even- is the goal, it will be found that in was born in Cheltenham, England, in teacher,7. and conductor, ization, which includes the highly scale in parallel motion for two remarkable amount of speed like- to America in This is played up the rhythmed passages a 1S79. He was trained by his father and came fastidious and competent Battistini then reversing the pattern it comes back gained. 8. Philadelphia, where he has been organist octaves, and wise has been 1899, settling in —a perfectionist in his art. Natu- like this: suffer from “long” fingers and a foremost churches in the City of Brotherly to the starting point Many students in some of the rally, a faulty vowel formation mars most peculiarities. These disappear Love."9. has written over two hundred works. One of his variety of other hand He the quality of the tone. Ex. 2 Eouos s Note. this treatment, because all the widely used piano pieces is The Pines. — amazingly fast under My wish to hear Battistini in fingers must learn to make quick responsive adjust- EST your knowledge of the rules of harmony. Italian opera was soon granted; ments to the keys. yourself one point for each correct an- December 22, I heard him in “La example of this exercise involves a form Mark technical The third Favorita,” by Donizetti, in which Here are found the usual difficulties in the T swer and see what your average is. and less he had made his operatic debut in fare of piano students. The rhythm is unvaried, Diminished intervals contain one semitone POL PLANCON burden of ac- Rome in 1878. diary says: “He the thumb and fifth finger carry the than perfect and minor intervals. True False My after playing this several signs sang in Italian and his voice was cented notes. The student Tones are expressed in musical notation by prez, a famous singer for whom Donizetti had written interest, and allows his hand to fall toward False simply glorious. Of course, it is only times loses called10. notes and rests. True the leading tenor roles in “Lucia” and “La Favorita” the fifth finger as each is played in a lyric voice, but within its limits the thumb and A chromatic scale contains fourteen notes. and who used to split the ears of the groundlings with turn. Combined with the first points mentioned, this False of power—and Battistini seldom, if True . 11. his ut de poitrine (high C from the chest) In 1877 produces a “bumpy” accent. meas- ever, forces it—it is perfection. It habit All intervals, harmonic or melodic, should be Plancon made his debut in Lyons as Saint Bris in “Les purpose of this exercise should be to make the occasionally went a little sharp on The ured from the bottom note upwards. Huguenots” (subsequently one of his very best roles) and fingers elastic and flexible rather than to 12. the top; except for this, perfectly hand fourth illustration shows a form like True False In 1883 he appeared at the Paris Opera as Mephisto. laying the The that of make one finger as “strong” as another. By played on pitch. They say the man is the second but graduated to a further step of atten- 13.A piece of music written in time would be London first heard him in 1891; New York in 1893. of accented notes only on certain fingers the % sixty-nine years old, but his voice MATTIA BATTISTINI burden like the second form, should time. his to tion. This, be played slower than the same piece written in % From then on he confined appearances to England purpose is defeated. But if all fingers are required shows none of the usual signs of slowly, but with quick snappy finger action: True False and the United States. assume the accented notes at various times, then the age. It is fresh, mellow, and abso- The three fundamentals triads. Tonic (I),. Do™' purpose of the exercise has been fulfilled and the hand lutely steady; and there is no shortness of breath His final number was a highly dramatic duo from nant (V) and contain all the A Beautiful Vocal Instrument to deal with any combination of notes or Subdominant (IV) indeed, the breath would be exceptionally reliable Donizetti’s forgotten “Maria de Rohan,” which is equipped False he play- ANNOUNCEMENT notes of the scale. True u “ rhythms that come its way. There is no harm in and easy for any age. I never heard such easy singing, shared with a French soprano, and which brought Plangon’s voice was a true basso cantante” with an inversions my even rhythms: A succession of three first or second ing exercises that are partitioned into THE ETUDE takes pleasure in announc- except in Caruso at his best. No fuss or strain, ever. The direct contact with his lovely art to an end. I have excellent high F and an available low D. Throughout the time the of triads is always True False if they are played in this way all effective. true Bell Canto!” some of his phonographic records, which revive its range it was smooth, mellow, homogeneous, effort- but e, my exercise. ing that it has acquired a short series o£ There minor sea hand and mind become stale from lack of real is one diminished triad in the memories of his voice, but no mechanical device can less, always adequate, always firm. I was so fortunate that is namely (VII). Compositions are exciting and varied, and articles of unusual interest from that one upon the leading tone A Memorable Concert possibly reproduce the full radiance of that glorious as to hear that beautiful instrument many times and is very sel- False u why people like to play them. An exercise True December 30, I heard Battistini as Rigoletto. “A instrument, 'that exquisite bel canto. now, after an interval of some forty years, it is a pleas- exciting as a In best note dom exciting, but it can be made as the second inversions of triads the superb performance, dramatically and vocally. His While Battistini was ravishing the ears of lovers of ure to me a lifelong lover of the art of singing, to recall stimulating and interest- Andres De Segurola to double composition. And while it is is usually the bass note (5th) singing only strengthened my admiration for his voice beautiful singing, according to Italian standards in the its lovely tones. it keeps both the False LJ ing, it is also excellent training, for True and bel canto. His acting, too, was much more intense great jities of Europe, his almost exact contemporary, In the early part of his career, Plancon told me, he elastic. The method is eminent leading basso of the is major mind and the hand alert and Metropolitan The third of a Dominant Seventh chord and resourceful than I had given it credit for being.” the Frenchman, Pol Plancon, was exemplifying French had been hampered by an imperfect breath control, simple. If we take the above mentioned exercise in the mode. February very Opera Company for many years and now major mode and minor in the minor 7, I took Blair Fairchild, an American com- vocal art at its best in London and Paris and the United which would leave him at the conclusion of a perform- thus: False and play it True poser long resident in Paris, to hear Battistini in States. ance physically exhausted. Fortunately, he came under a distinguished teacher of voice. be- Mr. De The chord, “Rigoletto.” Ex. 3 interval of a Dominant Seventh The singer was “in superb voice”; as Fair- Pol Plancon was born of humble stock in northern the influence of a retired Italian tenor, Sbriglia, who Segurola literally degree. "knew everybody" in ing a discord, always one child expressed it, “it might have been different, but taught him the correct principles of breathing for resolves downward France in 1854. He studied singing in the class of Du- opera his Fak could not have singers (probably, and recollections of the great True ®.£ been better.” Indeed, as I recall the what we call today “diaphragmatic- positi performance, stars The Subdominant Triad (IV) in root it could not have been better; a com- costal”). His breath support became like a solid col- are most interesting and significant progresses False pletely eloquent interpretation of one of grand opera’s umn of air voice as variation that demands at- best to a Mediant (III) . True 4 on which the rested as buoyantly we accomplish a rhythmic historically. The series will begin in the The Donun most vivid roles. tention. The dotted note can be made as short or as combination of notes known as a a cork on the surface of a body of water. Every tone, September issue. Seventh or min • I do not find in my diary any reference to a war long as desired. It will be found, however, that the chord is peculiar to one key. major VOICE whether loud or soft, high or low seemed to be derived False D charity concert at the Opera that I heard somewhat main accents are still on the first and fifth fingers, True from an unlimited reservoir, ( Continued on Page 474) 14. Disjunct Po9e triads are ( Continued on " AUGUST, 1947 "MUSIC STUDY 434 MUSIC STUDY EXALTS LIFE” EXALTS LIFE” 435 THE ETUDE musical ideas combine modern music where chords HE PIANO is really a more important instru- Music and Study more unassimilable which belong to two or tonalities. ment for the organist than the organ itself. We sounding of musical Music and Study Intonation is the tones with T have heard, so many times, that the piano is the in pitch and quality. absolute correctness Correct in- basis for every instrument and actually is the primary tune, and false intonation of itself. Organists donation means in means instrument for the study music in reference to the pitch of with their instruments that some- out of tune. If used a tone become so thrilled be true or pure if the tone is correct they hardly appreciate any other. I love the organ it is said to in times such as the piano or enjoys playing it more than I, but still I pitch. An instrument organ on and no one cannot be altered by the performer awe of the piano and wish that I could play which the pitch is am in The Importance of the Piano instrument of fixed intonation. A better, because I would be a much better organist, Terms Accurately known as an violin it Use Musical the pitch may be altered musically, and otherwise. or clarinet on which by the technically, instrument of free Interests me to see how well some of the performer is said to be an intonation. It always really great performers on other instruments play the Tone Color, Tone Quality, Timbre piano. Carlos Salzedo, for example, who is a master For the Organist tint or shade of color, Tone color refers to the or any of the harp, is a very competent pianist. When he plays of a tone. ^J^lerScLeii C^. (jjreffoi'ty modification with the brilliance A covered he seems to caress the piano; everything is done so be tone produced by a singer is said to dark in color, elegantly. I enjoy hearing him play the piano either as while an open tone is described as being white or light. a soloist or in ensemble. Saint-Saens was a great com- 120-quarter note Arthur Bliss composed a Color Symphony some years poser, organist, conductor, and pianist. Alfred Hollins, the minute equal to 60 M.M.; as: one considers the evolution of music possible of course to associate a English organist and composer who lii jbr. Alexander HEN to a second. In so ago and it is musical the great was WcCurcL ancient Greeks and would mean two quarter notes from the days of the the mood suggested by a certain color; but, toured Europe and America as a pianist and f may also signify a characteristic mood with blind, different meanings of various compositions the term Hebrews, the or tempo at every student of musical aesthetics knows, color has organist. The late Lynnwood Farnam, who was one of W manner or style as: tempo di menuetto, as Editor of the Organ Department free transla- musical terms in many nations, and the by associated with the timbre of certain instru- our greatest organists, played the piano beautifully. He above Italian words are often modified also been tions the terms in many languages over a period of valse. The of assai or Presto, ments. If we accept one theory, we cannot easily dis- played everything from Bach to the latest song hit of mis- other words in conjunction as: Allegro many years it is not surprising to find that many day (sometimes he wrote out twenty-five different In the course of a composition we may regard the other. the apprehensions have originated concerning the proper ma non troppo. rubato or L’istesso quality is that element or characteristic which choruses of some popular tune and memorized them find terms relating to pace as Tempo Tone are all tied up, it doesn’t seem to that the pistons meaning of the general terms commonly in use in me distinguishes the sound of one voice, or the sound of all). Many are aware of Lotte Lehman’s esteem for terminology. In 1474 Joannes Tinctoris wrote tempo. will work right. Nowadays with all of the excellent music from another, this element being de- Bruno Walter as a pianist, also for Sir Thomas Beech- one instrument methods for playing the piano that are available, the first compendium of musical terms. Many books we Rhythm and Meter pendent upon the overtones. The different tone quali- am. Fritz Reiner is familiar with all instruments, and been published in various languages since that would do well to apply some of them to the organ. have motion in instruments are due to their construction, ma- is an excellent performer on the piano. Never shall I should have Rhythm is pulsating flow, or measured ties in date and it is only natural that these terms forget his playing continuo in Mozart’s “Marriage of When I first began to study organ with Lynnwood regular pulsing of the beats in terial, and manner of playing, while the difference in different meanings; and as music. It denotes the often been translated into Figaro.” I could go on and on. Farnam, he insisted that I also study the piano, and the sense in which Berlioz describes it as, “the very voices is due to the size of the vocal cords, size of the foreign artists and teachers travel from one country with an expert. For this I shall never cease to be thank- of cavities. life blood of music.” It is the regularity or flow mouth, nostrils, and other resonance to another, new conceptions and meanings have been The Piano for Finger Practice ful. I could ill afford to study piano along with ex- expressed by strong (accented) and Timbre is a rather difficult W'ord to define but it misuse of these terms is not confined to movement which is evolved. The Organists need to consider a number of things in pensive organ lessons. What was more, he sent me to weak (unaccented) beats, each measure consisting of literally means that quality of tone which really students, as many teachers even in our colleges and one of the most expensive teachers in New York. I or time units of which the the heart and most vividly emotionalizes the connection with the piano. There is no doubt that they often give a mistaken interpretation to a uniform number of beats touches universities practice to fingers in condition. spent money like water and practically went broke, strongest beat. Rhythm may also be sense. In singing, it is the enveloping over- need to the piano keep ensembles. It is the purpose of this first has the musical their classes and Generally the does nothing for the player in but I am most thankful for it, and have been richly described as the regular grouping of long and short, or tones which come to a rounded point and are felt in organ article to list some of the most common words in music this it rewarded. I appreciate Mr. Farnam being so hard unaccented sounds. The beauty of a is the forward ringing hum regard, and anyway, is foolish to use an organ terminology in the hope that both students and teach- accented and the masque of the face. It for this sort of thing. Some organists never think of boiled about it. I actually practiced piano twice as field is not in the equal distribution of the straws power to the voice and is a neces- will acquaint themselves with the correct meanings wheat which gives carrying ers practicing scales and arpeggios with the metronome; much as the organ. In addition to the regular piano in the ground, but in the waving of the heads in the sary attribute of all successful singers. The timbre is of terms in everyday use. lessons, all for learned perhaps there are don’t to do so. It is of my notes the organ were on summer breeze. Likewise the beauty in music is found distinct from loudness or intensity and depends chiefly many who have the piano. I fairly certain, however, for the most part it would Mr. Farnam insisted that always work for Bar and Measure in the pulse or steady persisting succession of beats or on the number and character of the overtones. that a good tone (don’t many organists just pound the units which accents periodically occur. do many organists a tremendous amount of good if The word bar which is sometimes used as a synonym time within Intensity and Volume. Intensity refers to the loud- . It is certain that of they would do such a thing and do it regularly. Organ- piano) my appreciation the piano sometimes called the bar line is a Rhythm is also a term applied to measured and bal- ness, or force and energy of a tone, while volume means for measure, and is today one of my big helps musically. After all, the wider application in music ists need to practice the piano to keep in condition vertical line across the staff before the initial measure. anced movement, and in a the quantity, fullness, or roundness of the tone. musically. Many times the organs to be played are not piano repertoire is perhaps only second to the organ The bars divide the staff into spaces which represent it denotes the arrangement of the measures into figures, Articulation, Enunciation, Pronunciation, Diction too inspiring. It would do organists good to steep them- repertoire. equal measures of time, and first came into use about phrases, and sentences as marked off by the various The student’s aim these days, seems to be to get to cadences.- Articulation is the distinct and clear utterance of selves in Brahms, Chopin, and Rachmaninoff. 1600. the regular succession words by the vocal organs. Literally It is the art of The most important reason for this is, perhaps, that organ as soon as he can play a hymn or two. How The measure is the division of the time in a com- Meter is the of accented and un- jointing the production of the organist needs to practice just plain notes. The foolish this is. It is my conviction that one shouldn’t position into units of equal duration by means of bar accented beats in music which correspond to certain of sounds, and may refer to seriously unless least in poetry based foot. correct tone by the proper adjustment of the lips or player could do a much better job at the organ if he even study the organ he has at lines. It is the group or grouping of beats made by the accents Greek on the It is that on the were thoroughly familiar with the notes. Time and studied and can play well the Two and Three Part regular recurrence of accents, the position of which are part of the rhythmical structure which divides a com- fingers to an instrument, as the staccato tones again he may take things to the organ which hav^ not Inventions by Bach. The more piano one can get the marked on the staff by bars just before them. The position into measures by means of regularly recurring flute and trumpet. expressing been sufficiently prepared, and most of the good effect better organist he will be. Some students are always function of the measure is similar to the foot in accents, each measure containing a uniform number of Enunciation is the act In announcing or that he should be deriving is lost because he does not complaining about the fact that they can get only an versification, and may also be described as the notes beats or time units of which the first has the strongest definitely a statement especially in regard to fullness know the notes. One cannot interpret music if one is hour or so a day for organ practice. Frankly, I would or rests included between the adjacent bars. accent. In music, meter always depends upon emphasis and distinction. It refers to the distinctness of speech busy with notes. Notes are important must be think that an hour a day is ample, if the manual work or stress and is sometimes spoken of as the measure- and literally means to proclaim in an audible manner. and Time Tempo learned; however, music that sounds “notey” is very is prepared before coming to the organ. I hear stu- and ment in music. Pronunciation is the combined art of articulation, ALEXANDER McCURDY tiresome. It must have life. dents using up precious electricity, wearing out organs, The word time may be described as the separation of and enunciation. It is the act or manner of uttering Expression and Interpretation Good organ playing comes from attention to detail, playing wrong notes, and not keeping their hands to- music into divisions, marked by an accented beat and words or syllables with the correct stress of syllables. tention, I fear to these apparent details. and the best way to master detail is to practice care- I find that is gether, let alone their feet. They think, for the most the regular return to that beat. It is almost always Expression in music is the manner in which the per- One writer has said: “We articulate consonants. We piano practice a great help for brush- fully on the piano. It is certain that no fugue should part, that if they don’t have a four manual organ with used to denote the divisions of the measures, these former reveals the intentions and feelings of a com- enunciate vowels. We pronounce words.” ing up on technic. When I feel that I have ruined poser himself be taken to the organ until the fingering is well worked something in a recital, twenty-five general pistons they can’t learn to play. divisions being classified as duple, triple, and quadruple. or in a composition by use of such means Diction includes articulation, enunciation, and pro- I can’t wait to get home to fix as details of harmony of out; and the most convenient place to do this is not it up, and at the piano. Brushing passage They would get much farther on an old pedal piano. If a person is engaged in beating or marking the tempo and rhythm, variations in tempo nunciation, and also Includes phrasing, manner up a here or grouping of and dynamics, the at the organ, but at the piano. The technical details, a scale there is of immense value. When one has first learned to play the notes on the he is said to be keeping time, but the and selection of timbres. Words and speaking or expression, choice of words. The preparation that and the for stronger and weaker pulses or beats pro- signs are written in the music to aid and the greater part, can be done at the piano. The should be done at the piano on accompaniments, solos, manuals, and then takes time to work in the pedals, sounds into the performer in There are many words which 'are mispronounced respect It cannot giving a proper expression, pedal parts alone should be practiced for some time; and all sorts of music to be played is of it is nothing short of wonderful, how much music can duces what we know as time. In one but of course there is much misused among is well on the organ musicians. The word catgut then musical term as it refers to that true expression which cannot be the hands separately; next the left hand and great value. If, for example, we have a certain accom- be learned in a short time at the console. be said to represent a expressed by written known. No musical catgut, although strings are made of pedal; is played. symphony words and signs, but by only right hand and pedal; and finally both hands paniment that is for the Big repertoires are an advantage; it is a grand thing which elapses while music being A the good taste and culture often called wire strings written piano, but which must by this term. Aside from the and pedal be forty minutes in length, playing time. Another of an artist. once wrote or may be slowly played together. We all- wish be transcribed for the organ, what a help it is if we to have plenty of music always on call. I wish that I may that “A the remainder are made of the intestines of sheep singer is that we could read well enough to put them together explanation of the term is the grouping of the suc- who not able to recite his part according goats. can really play the accompaniment first on the piano. did have the repertoire that some of my friends have, to The word Concerto is pronounced Kon-tschair-to beats or pulses into equal measures, the intention of the poet cannot at once, but unfortunately, the most of us are not that and be able to play the music as they do. Most of us cessive rhythmic possibly sing it ac- and not ay-tude Kon-sairt-to. Etude is pronounced good. Preliminary at the length of these beats being represented by a note cording to the intention of the composer.”- °* Work the Piano can’t do it. I am sure that if we would play fewer and not is Pr e-tude (French ay-teed) . Fantasia tijne unit, an equal number being marked Interpretation represents the A friend in New York, one of the excellent organists In the preparation of such works Toccata numbers, play well what we do play, -with clean notes taken as a delivery or criticism of nounced sy- as the fanta-sia with the accent on the first of this off to each measure by the principal accent, the posi- the thought or mood in a work. It country, has a unique method for learning new from the Fifth Symphony by Widor, I am convinced and passage work, we should be much better off. With is the act of ex- lable. or spell® Violoncello should never be pronounced music of which tion of which is determined by the bar. The term, time, pressing, and music in its outward form he masters a great amount. He takes that most of the preliminary work should be done at all of the mechanics that we have these days and all is a com- violincello. wreck-QU' Requiem is rd-qui-em and not every new is often misused when we refer to a composition being position of varied sounds or tones piece to a friend, a great pianist for his sug- the piano. The passage work will never become clear of the possible effects, it is imperative that we not have to be expressed in em. M.M. and no is meant is the meter such style as to imply stands for Maelzel's metronome gestions on the fingering. In this friend learns in 4-4 time when in reality what the elevation of the emotions. a way my on the organ without detailed work ahead of time. to think of technical difficulties and the notes them- metronome mark. piano is the or measure. A person who plays the music with the correct, convenient fingering. He How true this is for the Toccata, Thou Art the Rock selves. We want to hear music not notes. Take, for Tonality and pi-an-ist, with the syllable. gets all Tempo is the Italian word for time but refers to the Intonation accent on the second of the tricks of the pianist and applies them by Mulet, the Toccata in B Minor by Gigout et al. example, some of the things that you have played for vio- We rapidity with which the Tonality refers to Portamento means one singer and to the organ. I have speed of the rhythm, or the the key in music, or the thing to the never heard anything like the must have a lot of endurance to play these things at years and clean them up. Analyze them anew and fix affinitv linist, but pianist- follow each other. It signifies the pace of a group or series of tones has a different meaning to the finished product. This man is a specialist in Tour- natural accents for a central tone or any good speed; in fact, we need considerable reserve. up the messy places. Make every effort to keep at them tonic singing to nemire. or rate of speed at which a passage, or composition It is the character of a composition it refers to the passing from one note Sometimes I find it awfully hard to wrap We hear these pieces played many times when they regularly. Learn some new things using this method. through the re y beginning lationship all other of the perceptm myself around moves and may be represented at the of a of its tones and keys to the interval in which the voice some of the passages which Toumemire are so uneven. Most of the uneven playing on the Don’t think that you are so good that you don’t need central kev ui by words such as largo, or tonic of the whole. glides and anticipates piano 111 writes. In recent composition or movement It is an element of key the second note. In years my friend has learned much organ in contrapuntal and in other passages is due to to practice scales or arpeggios. You will find, if you feeling he so of andante, allegro, presto, and others, or by a metronome which enables an A Cappella term is applied accent with his Bach over again after having his pianist friend choir to sing in the oroner to a pressing insufficient practice on the piano. It is important to haven’t been doing it recently, that your fingers will basing key egree of give him indication in which the speed is computed by throughout a composition. Tonality separation between the notes. sane ideas on fingering. We pay so little at- be relaxed, when playing the organ. After all, if we be all thumbs. If there are (Continued on Page 468) is the basis of In 7n) a sonata for violin and (Continued on Pbde AUGUST, 436 "MUSIC STUDY EXALTS LIFE” 1 947 "MUSIC STUDY EXALTS LIFE’ 437 the etude Music and Study HE ROYAL Artillery Band, England’s world-fa- Music and Study mous organization, functions both as a military Tband and a symphony orchestra, and has the proud distinction of being the senior military band of the British Empire. Instruments said that the British readily adopt inno- Orchestral It has been A Course in abroad, and there would appear to vations from be considerable truth in the statement, since the first en-

this case, the writer , who visited from British Army person, in room listed band for the was made in Germany. A Famous Military Band hour, seeing to it to room during the that all instruc- Major-General W. Phillips, the founder of the band correctly and For Music Educators tion was proceeding smoothly, occasion- was serving in Germany (1759) with the rank of Cap- the discussion. ally taking part in tain in charge of one of the artillery units at the time setup has doubtless All of the foregoing been easily the British were aiding in driving the French invaders the reader, but at comprehended by about this point out of the country. puzzled he will certainly find himself by one consider- During the peace negotiations (1762), Captain ly C. ZeJ(e nothing, as yet, JtffreJ ation about which has been said. “How Phillips had the opportunity of hearing some of the f he will ask himself, "even the German Army, which at luj yhd'tar C^hristmann is it possible,” though the fine bands of the time instructor be a specialist and an expert performer on were considered the finest in Europe. And so, this Ar- his instrument, for a student to take away anything tillery band was actually recruited in Germany (1762) upon as a only For many years military bands have been looked oboe, bas- of permanent value with four class meetings on consisting of eight musicians who were called upon to HE PROBLEM of providing an adequate course and more difficult instruments, especially medium tor developing and maintaining morale Tor members saxo- each instrument?" The answer to this question reveals double as string instrumentalists so as to perform both of instruction for prospective teachers in the soon, and horn, but also on the flute, trombone, of the Armed Forces. of the basic military band. branches the very heart or germ principle which as an orchestra and For the first fifty During such time, too little emphasis was given to the cultural less common orchestral instruments has always phone, tuba, tympani and the various other T course. its existence, the personnel of this underlies this years of band con- and musical possibilities of these bands. In only a few instances been a question with administrators of school music, of percussion. The first premise which was taken in planning sisted exclusively of German musicians. were the bands properly organized and given the opportunity teaching such courses. The general music teacher All instruments have some factors in common; this the musical organizations. It is interesting and encour- course was this that if a teacher is armed But the first mention of music in the British Ar- to function as position to is blessing for the harassed instructor, who — with undertaking his first is expected know how certainly a aging to note the progress being made in regard to the status Nevertheless, there are suflicient authoritative knowledge of how to teach an tillery was when a fifer and drummer were employed to teach every instrument necessary to the well- is required to teach them all. of our present military bands and of their contribution to the instrument, and of what to teach, of what in the battle of St. Quentin (1557). balanced orchestra and band. The instrumental spe- certain practices and factors which are peculiar to bad habits "band world." and of what good habits to Charles II came to the throne (1685) root out When , bands cialist teacher, concentrating on orchestra and band, each instrument, and it is these with which our pro- to encourage, of The following article by Mr. Zealley presents a vivid picture as correct playing position, correct method were authorized for the Foot Guards consisting of is expected not only to know how to teach all instru- spective teachers should be made acquainted, to what- the of holding to the reasons for the superior military bands and orchestras

Hautbois (Oboes) , the French model of instrumenta- in during the past century. ments, but to do so skillfully and thoroughly. How ever extent possible. the mouthpiece, drumstick or bow, that teacher can to be found England creditable job indeed tion, but the Artillery preferred to remain with trum- — Editor's Note. seldom this is actually the case, the teacher-trainer Here, then, is the problem more specifically. If this do a very even though he is not pets and kettledrums. knows only too well. The general (sometimes called detailed instrtiction is to be given, it must be imparted a competent performer on that instrument. So much are told that these kettledrums that “vocal”) instrumental teacher sets about her instru- by instructors who are themselves specialists on the poor teaching is being done today because school We were mount- Mr. McKenzie conducted several local harmonic societies and ed on a special carriage, were quite mental work with fear in her heart and a lack of con- various instruments. Where are such instructors to be instructors are teaching instruments they do not a conspicuous glee clubs in Woolwich, and the thought occurred to him that feature with their gorgeous silk fidence which immediately betrays her spotty instru- secured? How are they to be adequately paid, and how themselves play and possess no authoritative knowl- and gold embossed a vocal association might be formed in connection with the band mental background even to the most obtuse of stu- can the programming of classes in so many different edge about them. They are teaching by guess, the way bannerols, and are to this day preserved in the Rotunda as a number of the men possessed good voices, and so a glee dents. The instrumental specialist is usually one who instruments be taken care of? Moreover, who is to they think it should be done, or the way they have Museum, Woolwich. club was brought into existence. Their first performance so de- plays several instruments quite acceptably and has supervise the work of so many different teachers, to seen somebody (who has probably also learned incor- It was not until 1810 that a Britisher by the name lighted the officers that it was determined to form a full choir, genuine instrumental talent. He usually sets about his coordinate their efforts, and see to it that they present rectly) do it. In many cases instruction has been given of George McKenzie, a member of the band, work with a confidence, sometimes almost a bravado, then- knowledge skillfully and in such a form as to be which is definitely incorrect—against all the authentic was given the appointment of bandmaster. which is reassuring to the student and to himself, but of most benefit to the prospective teachers? tradition of a particular instrument. The writer has George McKenzie was born at Fort Brook- in many cases his background on the more uncommon At the Institute of Musical Art of the Juilliard found this to be true in the cases of the instruments lyn, Long Island, New York, in 1780 and was the son instruments is fully as spotty as is that of the general School of Music, the specifications for a new course in upon which he considers himself an expert instructor, of a noncommissioned officer in or vocal music teacher. His insufficiency, however, is the Royal Artillery, who served Orchestral Instruments were worked out by the writer. and there is no reason to suppose that the case is in the war of the much less easily detected, and therefore, it is probably This course, by taking advantage of some of the different with any of the other instruments. American Revolution, and was all the more dangerous, for his talent enables him to special facilities which the Institute afforded, attempted wounded at the battle of Guilford. incorrect practices Young put on a big show, and to teach to answer some of the foregoing questions, and provide A Pedagogical Precept McKenzie was taken into the Ar- and habits with as much confidence as he would if he a source of knowledge for the prospective instrumental tillery band when only twelve years of age, The second premise was that if one instrument of TAMES SMYTH. BANDMASTER had studied that particular instrument with the great- teacher which would be at once and we are told he became very efficient on extremely practical each orchestra type was thoroughly studied, the other Royal Artillery Band (1845-1880) est of living masters. as well as authoritative. the violin and clarinet, and was also a keen instruments of the various choirs could be learned far student of At the time of the inception of this course harmony and composition. The the train- more quickly by relating them to the known instru- in office, Smyth thoroughly established him- Problem of Detailed Instruction ing in instrumental music consisted orchestra made remarkable strides under of a two year ment, emphasizing paral- self with his officers, common factors, identities, his direction, and they expressed their responsibility of the training institution toward course in string instruments, a one year and recitals The course in lelisms, similarities, opposites, and so on. This practice appreciation to him by an official communica- clarinet, became a regular feature. both of these is clear. The general music teacher and one year in trumpet. One of these, either tallies with the old idea that a man must be deep tion as follows: should be given a sound basic course which will enable the clarinet or trumpet, was taken during the second before he can be one of the year broad, that at least him or her to teach instruments correctly and with simultaneously with the second year of the D.A.G. Office, course branches of his knowledge solid roots, Woolwich in strings, must have deep, confidence. How true it is that the typical first position and the remaining instrument during 11th August, 1855 the so that all the other branches will have something third year. This left Dear Smyth, of the young, just-graduated music teacher is apt to the final year available for the sturdy to cling to. It also adheres to the time-honored It will no doubt be gratifying to you to know be in -a small system where one person teaches all the new course in Orchestral Instruments, thus rounding pedagogical of the that the talent you brought with you on suc- out a more thorough precept, ‘Teach the new in terms music there is in town, both vocal and instrumental. course of study in the various ceeding to the appointment of Master of the old. The element of common factors between instru- The instrumental knowledge given to the general instruments. To complete the picture Royal Artillery Band has so developed itself in the course of the ments of the same family applies especially to the improvement of the band that the officers music teacher cannot be as extensive as that given to study in instrumental music also included courses in strings of the corps are much pleased, and methods of teaching and brass, but while the woodwinds represent many of the specialist, but it should be correct. He or she need band and orchestra. them have expressed themselves in terms highly several subgroups, there still sufficient features not be a competent performer on any orchestral or are commendatory to your merits. common to to band instrument, but such a person should be equipped n. yv uinuDie solution the entire family to make it possible THE ROYAL ARTILLERY BAND (Signed) H. Palliser, present the flute, oboe, in terms of the Adjutant-General, R.A. with definite, correct knowledge of how to present and The course in Orchestral and bassoon In full dress uniform Instruments was organizei knowledge had teach the various instruments, what bad habits to as a symposium, of the clarinet which the students each student coming in contact fo previously obtained. and tuba instantly given Smyth was so encouraged that he persuaded the guard against, how to recognize good and poor posture, successive periods of The horn, trombone, and an order was for the enlistment four weeks, with a r officers to increase special* w ere related to the obtained of boys to sing the treble the strength of the band to eighty suitable books to use, what are the chief difficulties, teacher for each of the instruments student’s previously of a number parts. of the course. as performers, thus probable rates Th knowledge of the trumpet, presented George McKenzie retired in 1845 having completed making it the largest in the British of accomplishment, and so forth. The class itself was divided into seven the baritone small groups o what it really service—a distinction it has maintained to the present instrumental specialist should be given the same type from two to four is, one of the tubas. fifty years’ service in the famous band of which he students each, and, as day. there wer The experiment that was its director for thirty-five years. of course, covering the instruments upon which he is seven instruments taught and is presented here in the hope twenty-eight teachin, it o It was found, after augmentation, not a competent performer. The great difference will may suggest similar the needs In 1854, James Smyth, a former infantry band- that the govern- weeks in the year (two weeks for courses to meet examina tions) tW other A master, ment allowance for the upkeep of the band was quite be in the way the specialist takes to the material, “ ™tetmg schedule instrumental teacher-training curriculums. was appointed to direct the band but the which was very inadequate for which in “2? workabk similar course conductors appointment was at all its requirements, so Smyth, induced most cases will be “like a duck to water.” In All of the subgroups could be devised for young not satisfactory to the officers into which this the officers to establish a band fund a given of course wa and for merelj or to the musicians. For ; this was brought amount time the specialist will have assim- divided met at the same young orchestrators and composers by nearly half a century the hour, in a set about by all officers ilated the knowledge given of smal prlc usmg a the Royal Artillery had boasted of of the corps subscribing two days’ him more thoroughly than tice m close proximity somewhat different emphasis in presenting bandmasters born and to each other pay annually. A committee of the nonspecialist, and in addition he will probably be ous The var material. Such and educated in the regiment. They felt their social prestige senior officers, consisting groups were under the general a course, giving young conductors able to give supervision of composers the had been lowered of a president, a secretary, a treasurer, and three a rather good account of himself in actual on real authoritative knowledge about somewhat by the appointment of an other officers was formed to administer performance on that particular instrument. orchestral instruments, contact infantry bandmaster. However, during the first year the fund. Both and a little practical the fund Most teacher training with trying and the committee have been in existence institutions of today are pro- them would be a real boon institutions to ' ever since. viding a fairly good course in the basic type instru- BAND, to provide these most Prac ORCHESTRA serious students with the Smyth also obtained ments of each of the orchestral families. These are tical background extra pay and allowances for possible. soloists and for those musicians most frequently the violin, clarinet, and trumpet. This and One possible probap who by strict applica- CHORUS objection to this course is the tion to is as it should be, duty, made themselves useful but the difficulty arises when it Edited expense. This f°r members of the by William D. is a serious objection, especially j? band. All this endeared comes to adequate instruction on the less common Revelli one BAND and him to his men; his efforts for stitutions with limited can A SERPENT ORCHESTRA budgets. The writer PERFORMER the good of the band never relaxed. 4 In the Edited by William D. no good solution, Page Royal Military Band of Revelli except to (Continued on 1837 It was Smyth who urged 438 "MUSIC (.Continued on Page 472) STUDY EXALTS LIFE AUGUST, ETUrf 1947 "MUSIC STUDY EXALTS LIFE” THE 439 . : 4

of meter and melody, however, This uniformity is Music and Study jj on Bowing satisfactory. It offers a minimum Suggestions anything, too of sur Music and Study suspense; of crisis, climax, and anti-climax. prise or you suggest some exercises that will for to other rhv thms for Can is so, then you are making life hard composers resort melodies i®. in learning to draw the bow in a So aid me yourself. For all extensions, the thumb metrical patterns, especially the line? There is a tendency for my posed upon rhythms of straight the fingerboard as I should be lying back along the underside differ materially from bow to slide towards speech, which those of bodily the point at the completion of a is, opposite the finger- vocal origin and often reach of the neck—that Melody is of independent ... (2) When I am bowing, motion. down stroke. board—and the knuckle should be away metrical rhythm. In classic times, declamation should the hairs remain the same distance of in from the neck and fingerboard. This and in drama was rated from the bridge throughout the entire Violinist’s Forum chants above The religious leg- Line stroke? ... (3) Please describe the execu- moves the hand slightly forward and Bar as used in ballads often sung while marching that the rhythms tlie bow stroke employs the The Tyranny of tion of should add a half-step to the extension. bow to produce a series of notes or dancing. springing fourth changing the direction of the bow Conducted by Then you should realize that the Speech has its own rhythms, related to verbal without ac- is technical name for bear the entire responsi- . . . What the finger must not and breathing habits. This stroke. cent, word-meanings is evi- stroke?—J. H. H., Maryland. this bility for any wide stretch : the first finger even in dramatic arias having metrical form. dent' In must do its share. For example, in the in following phrase from an aria Handel’s oratorio, Before we can think of exercises to cure ^Irtli ar (jarlett the J^lcirold Jderbleij tenth, from first finger B on the A string bu verbal accent and word-meaning obviously sliding bow we must find out the “Samson," that to D on the E string, the hand itself shaping of the melody: There are two probable ex- (mvern the cause of it. should be opposite the second position, planations: (1) You may have the habit the first finger stretching back while the Johann as in the following theme by of drawing your upper arm back a little HERE IS no desire here to reform our system of the second strong, fourth stretches forward. Training the as you approach the point of the bow; or Prominent Teacher notation; but rather to point out some deficien- Strauss: first finger to make this backward stretch be that you do not lower your which interfere at (2) it may does not take very long. Exercises similar cies or common inaccuracies Ex. So mean a tri • umph I dis-dain T wrist enough as you go into the upper and Conductor times with proper accent and phrasing; especially in to the following should be practiced. third. The first is the more likely reason, the use of bar lines and the strong first beat after them and melodic accent are not In this, metrical in exact though your trouble may result from a ordains. which custom accord. The accented syllables of “triumph" and "dis- start on the combination of the two. Let us examine Difficulties arise mostly when metrical accent and In six-eight time that theme would in the middle of the bar instead of the first true ac- dain” come what should take place as the bow is of practice will melodic accent are not in accord. The difference be- fourth beat and would properly indicate the combined ute you give to this sort beat. And only word-meaning with verbal drawn from frog to point. two may be illustrated in the case of Schu- centuation. be a pleasure to you. tween the accent could suggest that remarkably appropriate drop When you can play these exercises easily requires four meas- At the beginning of the stroke, the el- I not quite sure what effect you mann’s Traumerei: The Strauss Blue Danube theme am at the given pitch, transpose them a half- of a major seventh for the word "disdain." In song, be at approximately the same ures of three-four time. It starts on a weak beat fol- bow should refer to in your third question. It might accent overrides word-accent the result step down, and later a whole-step. Mean- Ex. 1 strongly when metrical level as the hand, so that a line drawn bowing, in which the bow lowed by a weak measure before reaching the be the ricochet while, stretching the often bad: “Oh rest in the Lord” is poor, and melodic do not worry about of six-eight is from the elbow through the wrist to the is thrown lightly on the accented note in the third measure. Use (the upper third) fourth finger; concentrate, rather, on accent should fall on “rest” and "Lord.” be parallel to the floor. time would indicate the true accentuation of this knuckles would string and allowed to rebound for the re- often govern melody even when no training the first, for doing so will also Word-concepts The first half of the stroke, from frog to quired number of notes. This bowing can clearly: train your to take the correct shape words are employed and the music is instrumental. hand middle, is made by the upper arm moving be taken Up bow or Down, though it is well as composer, has for an extension. Schumann, a literary author as in the shoulder joint, the forearm, wrist, usually played on the Down bow. more However, as play the melodies having the quality of declamation or soon as you can many and hand keeping the same relative po- A very relaxed hand is necessary for the notably in the question and answers exercises fairly easily a tone lower than I speech-music, sitions they had at the beginning of the ricochet, but after the feeling for it has etc. have given them, you should begin to are all but spoken in his Warum? which stroke, and the angle between the fore- question will be answered in THE ETUDE controlling the speed with No been acquired, work on the fourth finger. Use the fol- four-beat measure and four meas- word-poet, yet speech-ideas seem unless accompanied by the full name The phrase is in Beethoven was no arm and upper arm remaining the same. which the bow springs is not a difficult and address of the inquirer. Only initials lowing exercises, and at first practice This is quite normal, and normally the give of his melodies their rhetorical eloquence, ures in length. to many When the middle of the bow is reached, or pseudonym given, will be published. matter. them very slowly. of such measures is strong-weak-medium- in Funeral March of his "Eroica” Sym- accentuation notably the however, something quite different begins However, it may be that you have in melody applied to these beats does not flow his main theme is weak. But the, phony No. 3. The melodic of to happen. The upper arm ceases its mind the flying staccato, which is taken as is indicated by the slurs which define the interrupted crashing chords like cries conform, constantly by downward and backward motion, and the in the middle third of the bow and al- tendency to accentuate the first and in phrasing. Yet the of despair; and the final utterance of the theme stroke is continued by the forearm mov- But when he can do this without having ways on the Up bow. The method of per- third beats persists so that often it interferes with ine race is mat wrnie actual rests is the outcry interrupted rhythm punctuated by ing in the elbow joint. And something to think about it he must realize that the is not difficult for a player the formance To get the most benefit from these exer- proper phrasing. In the phrasing, an extra beat in proper emphasis on melodic accent, our system of flo- itself falls: of grief so profound that breath else must happen, too, if the bow is to bow is his most potent means of musical whose arm is relaxed and steady. As the cises and those which follow, it is essen- measure is borrowed from the fourth, thus caus- is first tation based on metrical accent, which has to do travel in a straight line. As the forearm expression, and he must learn how to fairly slowly, towards the bow moves, lift the fourth finger shift of emphasis. Meter and melody might tial that you each ing a with beats, and conforms in general with nature’s own begins its independent movement, the color his tone by drawing the are rapidly shade and frog, the forearm and hand time as high as you can—and try always coincide more closely if suitable changes were made in demands, especially in marching and dancing. wrist must very gradually begin to drop, at various points on the string be- rotated backwards and forwards in the bow to lift it just a little higher. The more the time-signatures andmotation: Metrical form is subject to two universal laws: a law so that the angle between the forearm the fingerboard and the bridge. joint. There is little or no inde- tween elbow flexibility develop in the knuckle, of contrasting opposites; and a law of symmetrical you can Ex. 2 and the bow is slowly narrowed. If the Here he enters a field of exploration that pendent movement in the wrist joint. The design. or first joint, of the finger, the easier it wrist is not gently lowered, the bow will has no limits. motion is almost identical with that used will be for you to extend it. These exer- The law of contrasting opposites works in contrasting certainly slide towards the fingerboard. There is not sufficient space this month by many people when shaking salt from pairs: day-night; cises, too, should be transposed down- North-South; right-left; or in mu- The only exercise which will enable you to discuss the technique of tone-coloring a salt-shaker. It is, in fact, the Rotary wards. sic, strong-weak accents. Two beats compound to four iSpiii Tm- to get rid of this sliding bow is the prac- detail, though I hope to have a good forearm, of which there in Motion of the Now you have to consider using the in a measure; measures come in pairs: two make a mo- tice of slow, full-length strokes in front deal to say about it on this page in the was a detailed description in the Novem- tive; two motives a phrase; two phrases they double stretch of the first and fourth —antecendant Bar lines and time signatures are not sacred: of a mirror. Sustain each bow for five or future. In the meantime, you could Etude. tech- near ber 1945 issue of The The fingers. Exs. E and F give the problem and consequent—a section; two sections a “period,” can be or emphasis six changed whenever melodic accent seconds and watch carefully what consult the eleventh chapter of my book, nique of this bowing is fairly easy to ac- etc. in its simplest form. corresponding to a four-lined verse with cadences serv- demands. "Infancy of In the Incantation Music of his your arm is doing as you draw the bow. “The Modern Technique of Violin Bow- quire it is easier for most people than ing as rhyme. — unique, and many such Christ,” Berlioz and four-four I think Traumerei is by no means alternates three-four you will notice that at first your ing,” if the subject interests you. For the the firm, or martele, staccato—but some Nature also tolerates quoted from the classics if space three’s: three-leafed clover, time. Liszt phrase in his upper instances could be has an even more complex arm continues to move backwards present let us confine ourselves to the practice may be necessary before it can poison-ivy, the three-toe’d sloth, or three beats in a and the permitted. oratorio, “Christus.” It is ten measures long, after you have passed the middle of the basic principles involved. be played with characteristic lightness measure. But the preferred Occasionally, errors creep into even the best edited symmetry is the same: two time signatures appear ir- bow, two-four and three-four and also, probably, that your wrist Speaking in general terms, one can say and delicacy. they can be played easily, the first measures, two motives, two phrases, When editions. Liszt’s Liebestraume has a time signature of and so on. Oc- regularly one three- is above five times. Tchaikovsky inserts the level of the bowstick when that a slow bow should be drawn near finger should move back a whole -step eighth-notes suggests casionally, however, motives or phrases also come Andante six-four, but the notation of the in beat measure in the opening phrase of his you arrive at the point. Concentrate on and a fast one near the finger- three’s, an antecedent the bridge instead of a half-step. If the usual accent on the first, and two consequents, as in Extension o the Fourth huger a twelve-eight measure. Cantabile, which is otherwise in two-four time. keeping the upper arm still—though not board, the dynamics in each case being f America. require in this, Other exercises which will be of help is intended, the notation might We two measures for recita- third, and fifth beats “My Generally speaking, no bar lines are used in rigid, certainly—as you pass into the up- controlled by the pressure of the bow on . . . Can you tell me if it is possible for country ’tis of thee,” then to you are: (a) in the following. Otherwise the time two more each for “Sweet cadenzas, me to learn to extend my fourth finger better be as at tive; and no bar lines are used in cadenzas. In per half, and on slowly lowering your the string. If the passage being played land of liberty, Of thee I sing:” a six easily? . . . My hand is not small, but it is G H signature and notation should be as at (b) -measure phrase phrasing ad, lib- wrist until is indicated by the notation, and is it is at the same level as the calls for a soft, flute-like quality of tone an effort for me to stretch from first finger The law of design demands symmetry of me note-pat- Historically, mensural came before t' frog when you reach the end of the changes are frequent, then B on the A string to fourth finger F, and Ex. 3 terns as well as beats, notation and the bow providing unity, variety, a lines. F-sharp is impossible for me. My hand is pro- signatures; and time signatures long before bar stroke. Practice in front of a mirror until the bow should be near the fingerboard; portion. In Rubinstein’s Melody stiff. I rapidly I in F, in duple time, one mu- you not can play very and Grove's “Dictionary" says that lines for choral can make the stroke easily and if, the other hand, a vibrant and in- long .beat and two short ones, bar on have a good, fast trill. ... I am twenty- “tum-tata” is a figure steadily, sic on separate staves came in with printing early then, still using the mirror, tense quality is needed, then the bow two, so perhaps I am too old to train my from which the whole is developed: sixteen measures tie hand to stretch more. Please tell me what the sixteenth century: but mainly as a guide to gradually increase the speed of the bow must be near the bridge. A beautiful and of four phrases, each phrase a you think, and if there is anything I can balanced unit. We eye; the ar until for the music in style, P *j you are taking only one second to effective crescendo can be made on a thus have metrical figures, metrical was polyphonic do about it.—G. K., Iowa. motives metrical flowing accentea each stroke. phrases. independently, each with its own A week of concentrated prac- single bow-stroke by starting near the Tones agreeably placed on such patterns as in notes so that prevailed, an tice along these the Melody in F unite metrical melodic or verbal accents lines should eliminate the fingerboard and gradually approaching Of course you are not too old! I have All should be transposed down until you and melodic accent but un- fault there were no were placed that has been bothering you. bridge as the bow is drawn. An violinists of twice melody may also have its own accepted “beats.” Notes the known your age who can play a tenth from the first to the figures, motives 'and the. der each other duration as One more point: If have effective diminuendo is produced learned to play tenths easily well. Whatever Liszt may have intended, phonograph phrases. When these conflict as in Traumerei according to their time you happen to equally and third position. Remember, though, that bar’ lines now are After ® broad shoulders records show that even famous concert artists prefer may get in the way. between bars within the measure. and short arms, don’t by reversing the process. You can do the same if you go about it you cannot do this if your hand-position lines came, convenie try to use the tone- the twelve-eight form as at (b) All marches and dances for use choirmasters doubtless found it last two or three inches at These are only a very few of the in a systematic way. is not right. conform to the four- to beat time," even the tip of the bow. first Another flagrant error, universally accepted, is writ- square pattern. When phrases are so that metrical music invaded shadings that can be obtained by varying You must analyze the position of Don’t confine yourself entirely to the expanded to ei^ht music require measures contrapuntal field. instrumental Your second question can be answered the point of contact between the bow and your hand. I am inclined to think that exercises I have given here; the ing waltzes in three-four time. Waltz themes as in the waltz or minuet, it is Bar lines for study usually a mat- for hoaei both six beats, or two measures of three-four time, either ter of notation rather than virginals or spinets came earlier. Often, Yes and No. At first, every violinist the string, but I think you should begin when you try to make an extension you principle behind each of them and invent any change in the sym- they this ® must learn one of which may be strong, the other weak. The Merry metry. There is rarely any were irregularly placed, as much of to draw an even, steady bow- to work along these lines as soon as you have your thumb sticking up on the G others that embody the same principle. conflict between metrical was also in stroke, keeping the habit of drawing a string side of Widow Waltz accents the first measure and the second and melodic accent in marches or dances contrapuntal style. the hairs about halfway have acquired the neck and the first finger The ability to invent exercises for any for use ex lic between is weak. But sometimes the first measure is weak and cept when syncopation occurs as Unaccompanied plainsong as used in the °,| the bridge and the fingerboard. perfectly steady, straight bow. Every min- knuckle pressing against the neck. If this (Continued on Page 470) in modern dances’. liturgy makes nowadays an (Continued on Page 440 "MUSIC STUDY EXALTS AUGUST, 1947 "MUSIC STUDY EXALTS LIFE” 441 LIFE” THE ETUDt % , 2

me Musician out not sppn ,, Music and Study for some years, and I 1 have a ?• Music and Study f66 ing that it is no longer published.

I Want to be a Concert Pianist Scale Fingerinqs Q. 1. In answer to “Tess” in , „„ Q. I am a freshman in high school, and issue of The Etude Music Maaa*JKenl my class in Citizenship is studying the gave the fingering to the y°U G major sc!i different types of vocation. I have studied R.H.: 1-2-3-1-2-3-4-5; L. Answers H. 5-4-3-2-f , “ the piano for six years, and I have de- Questions and This is the only fingering that 1 know cided that I want to be a concert pianist. you state ^ d Building Finger Efficiency yet that this in Piano Study rule is not We are supposed to find out how im- iAv!? able. Please let me know in portant to the world the thing is that we what way this scale may be fingered. want to do, what special preparation must Or is by any text book about exceptions be made for it, how remunerative it is, and Conducted fingerings, especially one giving IT not true that indefinite, insecure, and even more so in the latter, the right hand points so forth. Will you tell me about some of reason, S the changes? I know that playing is often attrib- lower register the left hand these things?—N. T. some characterless piano toward the and are needed in scale passages, but "rh utable' to false motions, incorrect hand and towards the upper register of the piano. In play- fingering does not seem to go bv anv I A. I suggest that you read “Your looks like it has to be positions, and a disregard for the geometrical ing arpeggios the angle formed between the hand worked out to wrist 2>oc. each passage. “ult greater Career in Music” by Harriett Johnson. JCJ W. QeLLni, WU principle that “a straight 'line is the shortest dis- and the keyboard becomes greater and 2. I am very glad to If this book is not in your library, the know about Czemv two points?” until the time for the thumb to strike. 337. in tance between Op. the answer you JjJf librarian will probably be willing to get £ piano student should be taught Practicing arpeggios (tonic arpeggios for begin- Professar Emeritus "E. E. M.” in the same issue ‘ The beginning of the ma it for you since it is a new book that zme. Could you please give a arched hand, with fingers well rounded, ners) hands separately, four octaves, can do much graded list that the many others will want to berlin College of Czerny s studies? I am playing. Although the to shape the hand. In the practice read. especially ' essential to good piano of arpeggios, terested in the earlier m is In general the work of artist grades, so as to iL possibly than in scales, any good child’s muscles are often flabby and somewhat more one sees the added Editor, Webster’s New what to give first. I assigned* °£! is important the world Music Op* 599 necessity to in that what two beginners, not tyros, unmanageable, constant vigilance on the part of of keeping the fingers on just the cor- but pupils who he does contributes to the spiritual satis- International Dictionary had been through John the student cannot but ultimately rect part of the key. The thumb should be crooked Thompson Vol l the teacher and faction There must be easier ones of other people, while at the than 599. Also' satisfying results. and always under the hand except when it is about where would you produce same time the artist himself is express- place On. actually Thank you very Many beginners have difficulty keeping the first hitting the note. Because of the necessity much for all this informal ing something that means a great deal tion. This for a smooth passage of it I like your column.—J. R. joints of the fingers from bending backward. the thumb should be to him. concert pianist must fine A be a condition is nothing to be alarmed about and almost self-evident that the wrist should be held all-round musician, and he must have A. 1. There is comparatively short time if rather high and that the hand should form an one other rather widely can be rectified in a the feeling and the technical facility to point, form, composition, and orchestra- used fingering for the left will take a few minutes a day in arch. A thumb that sticks out means an unrelaxed hand in the the student perform practically any work that has tion. But how to get such training while G major scale, the piano. It hand. If the student is told to relax the palm of which is the one advocated strengthening exercises away from been written for his instrument. This in the army presents quite a problem. If by several well vanity in the shape of the hand, the thumb tends to take the correct known piano teachers goes without saying that means that he must study for years and you never have had any harmony at all, They finger be curbed. The student shape. Elbows should be kept away from the body all scales on the principle long finger nails must years under fine teachers, and he must I suggest that you send to the Publishers with that the thumb is always passed must consent to having finger nails cut short, no sudden motions in any direction. The be willing under on to give up practically every- of The Etude for a copy of “Harmony pursue the comparing of the elbow to the the white key which follows or else he may as well not attempt to tone arm on a thing else for one more the sake of his art. As to for Ear, Eye, and Keyboard,” by Heacox, piano. study does de- victrola which gradually moves in, clarify black keys, whenever the latter occur serious study of the Music may the remuneration, this varies so much in that and that you follow this by studying the scale. certain sacrifices! function of the elbow. A few demonstrations of This results in no different mand I cannot even give you a general esti- “project Lessons in Orchestration” by fingering for the right The fifth finger is the one which doubtless pre- incorrect, awkward motions of the elbow on the mate. hand in the scale the same author. This much you might of sents the greatest problem. The finger tends to part of the teacher may cause the student to G, but does give the following for the be able to do by yourself resolve to correct his if a piano is left hand: ascending, 3-2-1-3-2-1-4-3- “lie down” on the key and possesses little vitality unnecessary motions. Secondary available. Of course you ought to be in proportion to the rest of the fingers. Practicing arpeggios within the octave’, Dominants and descending, 3-4-1-2-3-1-2-3. In The School or strength as illus- studying piano, too, but it seems a little It should be well curved; and let neither the trated below, is a preliminary exercise which will Six-four Chords of Scales by Theodor Wlehmayer this sys- futile to suggest greatly Q. 1. What is this while you are still student nor the teacher be discouraged if the con- facilitate the playing of arpeggios when a secondary dominant Hommage a Haydn tem is carefully explained, and the finger- chord? The term occurs in "First Studies Q. Debussy has written a piece Hom- in Service. Since you are stationed at dition does not improve immediately. If the pupil they are later taken for four octaves or ings given in full for all scales. more on in Harmonic Analysis” by Angela Diller. mage a Haydn upon a theme Haydn repre- Santa Fe, you might take a run over to will run over an octave or two of the scale of C the piano. 2. What are the three or sented by the notes But what I have explained above is not four uses of the BADDG. I wonder if Albuquerque, six-four chord? M. B. you know of some where there is a good music really major daily, using the fifth finger on every note, — connection between Y an exceptional fingering, It is a Ex. to D and N to G. I have been department in the State University, hands separately, with the finger properly curved, told that and perfectly definite Right Hand H is the German system for fingering A. I have asked my friend for B. I hope that you where you would probably be able the finger will gradually be strengthened. Professor can help to get scales. You are quite right me on this problem.—J. F. better when you say Robert Melcher to answer this question, advice than I can give you at this The proper place for the thumb to strike seems that exceptional fingerings have to be and he has sent me the following distance. But whatever you to be nebulous piano students. high in most of the earlier practice. Although one does reply A. It is true that do in the im- worked in the minds of many H is the German mediate out to suit each passage. If rules for you: present, don’t give up the idea Since the thumb varies in nature from the rest of not always play in this fashion, raising fingers high name for our pitch B, but I know of no could be given for such passages, they 1. of putting serves to assure independence of fingers which can be A secondary dominant is a dominant reason for your music down on paper the digits, it must be treated differently. It should Debussy’s using D and G to would no longer be exceptions! Tire chief chord out of the key of the composition, some day. be crooked at all times (except when playing a chord secured in no other way. Even when this independence represent the letters Y and N. I have reasons for employing fingerings unusual is will 1 241421 which does not, however, cause a modula- demanding a long reach) and played on its side, not acquired it often be necessary for the student looked in all the books on Debussy are either ends tion. that I that the passage begins or stroke Such chords are sometimes called know, About Folk Dance at the tip. In playing scales or arpeggios it should be to be reminded that a swift downward from and can find no explanation. Collections on an Irregular or Another item that needs to be considered in playing “apparent I member of the scale, a distance used. dominants,” or “X chords.” A suspect that kept low so that it will not produce a too heavy touch must be he simply chose those pitches Q- I was delighted to else that places arpeggios is the lateral motion of the wrist. The wrist clear example read in the March accents occur at such The constant practice of one-voice technique such of such a chord is found at random. In 1909 Elm>E in proportion to that of the other fingers. Many Debussy, along with ** >'°u ^commend that it is necessary to use the stronger should be flexible as the right hand descends and the in the following excerpt taken from usingusTne I,!”" to beginners tend to let the off the keyboard. as scales, arpeggios (preferably hands separately so No. five other French composers, interest the little thumb hang Dukas, girl fingers on certain notes where they would left hand ascends whenever the thumb proceeds to 75 of Miss Diller ’s book. named Ann. I am that the position of the fingers can be observed the The chord Hahn, d’Indy, Ravel, and connected with a The thumb cannot be of any use in this position where ” Widor, wrote group of 4-H Club members not regularly fall. The only book I could the third or fourth finger. A few preliminary motions marked “X2 is the secondary dominant, who are very it will cause only stumbling, and result in a delay in better), and Hanon cannot fail to yield far reaching short sketches under the general much interested in title folk music—in fact we find concerning unusual scale fingerings of the wrist from side to side would be of value pro- since it is the dominant not of the key plan to give the flow of the included, results. If the student is told that the practice of Hommage a Haydn. These were intended a program of folk songs music. All fingers, thumb of D, but of dances and and the reasons for employing them is vided relaxation is always present. The purpose of the chord of IV, and yet does for a musical very soon. We are having should, if possible, be resting on the notes which are scales and exercises is comparable to building a house supplement to the Revue some Piano these motions is to secure smoothness in the playing not cause a modulation trouble m locating the “The Master School of Modem with to the key of G. S.I.M. as an acknowledgment accompaniment! about to be played. The easier exercises for beginners a solid foundation, he may approach such tech- of the mUS 2, of the arpeggios, always preparing the way for the and 1 am wonderin'! Playing and Virtuosity,” Part I, Book nical practice in different light. Ex. I centenary of Haydn’s whetherwLthe? l°' generally make use of various “hand positions” with a death. Each piece you know of any books by into finger which goes over the thumb with a minimum include that1 Alberto Jonas. This book goes A preliminary exercise to the learning was formed by using notes taken accompaniments. which a comparison might be made to the guide keys of scales and as the great detail and I of strain and effort. 15 1 y°U W uld about such matters, in one which makes it imperative to get the equivalent of the letters ? aIso tel1 me something typing. thumb under of Haydn’s aahnm“ou ‘ a! magazine called believe would contain the information the is name, being thus sort “The Musician" hand illustrated below at (a) . The fingerings a of musical acros- about which I have Unnecessary Motion heard.-R a s you desire. found at (b), (c), and (d) illustrate the tic. None of the compositions, however Place for Fingers to Strike possibilities 2. Czerny composer The teacher should be on the lookout for fingers that was of any was such a prolific for preparation of the thumb. All of these scale particular value, and De- It is that it com- important that the teacher stress almost from offender being bussy’s ranks would be difficult to give a passages should be taken for five or six octaves, in fly up, the worst often the second finger. among the least conse- to the first lesson a library of plete list perhaps the just which part of the keys should be Whereas, in elementary work, such a motion quential of m of his studies. But contrary motion, ascending in the right hand and may seem any music ever to come from education materials, depressed. In so I cannot following general it may be said that in Hanon, trivial be discussed, if this habit persists, his pen. the names give may be of help to you: descending in the left hand. too to later of specific books by scales, and exercises in which no more than one voice 2. The most common uses of Grade 1: I know no actual volume on it will have to be rectified by dint of great effort of the six- dances. However, is sounding I am glad there in each hand, the fingers should be placed Ex.1 four chord are to tell Czerny as simple as Grade 1, though and persistence if the highest musical effects are to (1) the cadential I %, (2) on the Can a Soldier TLearn to SUCh Sections recom- white keys no farther forward than at the tips achieved. the passing and (3) the embellishing Compose have t may be such. The best that I can be Some students have the habit of raising % published, and I of the black am sure you will some o keys. If a student’s fingers have difficulty the finger to strike the note after as shown in the following While in the be ; mend is a volume compiled of the finger has been % examples: Army? to find one in this that includes the various respect, the teacher’s exhortation to keep the want. ones the easiest exercises from his resting on the surface of the same key. This is another • Q. I am a soldier Such fingers in the army, stationed books contain 1. well curved often obtains the desired result. both me! works called Czerny,” Book false motion which should be discouraged immediately. at Santa Fe, and I have ambitions C “The New The to Pa iment teacher may wish to say there is imaginary write music of a and SOmetim edited that an Occasionally a student may be found who uses both symphonic ', by nature. I have wordsword.r aroalso. T ^ Rowley and Haywood. fence created works in my I recall that OP; just in front of the black keys beyond which imagination, but Barnes The A Grade 2: “One Hundred Exercises, the fourth and fifth fingers on one note. Although it when I attempt to put them Company of the fingers should not pass. down on New York have^ 139;” Op. 501. is difficult to understand why a student should feel paper I fail because “Twenty Easy Preludes, of my lack of train- As for the black keys, they should played the ing. Because be on inclined to do such a thing, it may be due to either of my being in the army “The First Teacher, Op. 599.” very and not tips, again with well rounded fingers. Instruction owning an instrument it Twenty- the inability to decide just which fingering is better is prac- Grade 3: “One Hundred and regarding the tically impossible to learn the proper place for the fingers to strike can to play an in- five Exercises Passage-playing. P' or due to his desire to reinforce the tone. Such a habit strument that would aid my in cause the student composition. to realize the importance of curved As more fingers are used before the occurrence is Could you give 261;” “Thirty Mechanism, of not economical of fingers and should be mentioned me any help in starting New Studies in ngers. As the myself student’s hand gradually assumes the the thumb (as at b, c, and d) the teacher should stress on the right track?—K. H. B. Op. 849.” at the outset. Complete discussions of all correct shape of these Little the teacher should compliment the stu- the constant importance of shooting the thumb under Inability to produce a singing, legato tone often is chords will be found in almost “c Grades 3 & 4: “Twenty-four ent on the any A. What you need Then you appearance of the hand and ask him to the hand, farther and farther under until is several years of c°nld pay Etudes 636.” the thumb the result of arms moving up and down or in and out, standard harmony text. what von 3 for Velocity, Op. observe it. intensive study of harmony, return the UP- is over its proper note. often without the student realizing counter- l used tn rest Grade 4: “The School of Velocity, To develop it. Such wiggling ?^take the a firm touch the fingers should be raised In playing both scales and arpeggios, 442 magazine ca but perhaps contributes nothing; it only ( Continued on Page 468) "MUSIC STUDY ( Continued on Page 475) EXALTS LIFE" AUGUST, 1947 "MUSIC STUDY EXALTS THE ETUDE LIFE" 443 ‘hitting’ a high C—indeed, you don’t merely want to want to sing it, with musical Music and Study ‘hit’ it! You quality Build of reserve in your singing; up a feeling never work of giving out with the sensation your last ounce PERIWIGS of AND RUFFLES on a high note—and never let your force hearers ex- GAVOTTE SENTIMENTALE the uncomfortable feeling that they perience are wit nessing such a last-giving-out! Neither you nor y0Ur can be at ease unless you both feel Developing the Tenor Voice hearers that tone endurance range, quality, and can go on—and on— building of such a reserve and on. The begins in na7 ural, easy, free emission that is never forced. are a number of exercises, of “There course that A Conference with the development of contribute to these goals. Every whether it is heavy voice, no matter or light, should and agile through be made flexible the daily practice ^jJ~reclericL ^ciqul exercises. I imagine that of scales and no one will ob- that! As to other exercises, there ject to may be a Distinguished American Tenor opinion, and so I offer the difference of following drills own. They are valuable A Leading Artist, Metropolitan Opera Association simply as my to me, but the teacher should be consulted as to their applicability to other voices. development of head SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST “For the resonance, I have

Frederick Jagel needs no introduction to the American public which, for over a decade, has hailed him as one of the foremost operatic tenors of our times. Born in Brooklyn, New York, Mr. Jagel has been singing since his eighth year. At ten, he joined his father's choir. Two years later, he became substitute soprano soloist in another church and at fourteen, was appointed principal soloist—at the munificent salary of twenty dollars a month. From sixteen to eighteen, he wisely heeded his father's counsels and refrained from singing so much as a note. Then his voice asserted itself as a splendid tenor, and he spent a year debating the choice of a professional career. At nineteen, Mr. Jagel was accepted as a pupil by Vincenzo Portanova and studied with that master for a period of four-and-a-half years, interrupted by army service during the first World War. On his return, he was aided by Samuel Eiseman who provided the funds for young Jagel's full tuition in voice, acting, lan- guages, repertory, and coaching. After that, Jagel was on his own. He found himself positions in the Rivoli and Rialto Theaters; went to Italy where he spent two years in intensive study under Cataldi, and then made his debut, in Livorno, in "La Boheme." For another two years, he continued singing and studying, finally securing an audition, in Milan, with Giulio Gatti-Casazza, then General Director of the Metropolitan Opera. The result of the audition was an immediate contract for America's leading opera house, where he made his debut in "Aida." It is characteristic of Mr. Jagel that his arrival "at the top" served chiefly to usher in a further period of study, this time with William Brady. Since his debut, Mr. Jagel has advanced steadily to the forefront of both popular critical esteem, and for the purity of his singing and the impact of his interpretations. In the fol- lowing conference he outlines for readers of The Etude his views on the development of the young tenor voice. —Editor’s Note.

there is of “TTT HILE no way estimating the in- wiser to start with the lyric repertory, especially the dividual problems \/\f that may beset the indi- works of Mozart which stress the all-important need w * vidual tenor voice, there are three for very gen- general musicianship. Only as the voice grows eral difficulties that every young tenor will sooner or stronger, more developed, more sure, can it be trained later encounter. The first of these is the need for suffi- for the full impact of the dramatic -roles. The out- cient and efficient-study. — We have magnificent vocal standing example of the dramatic tenor was Tamagno. material here in America, but some of it, alas, suc- Caruso himself ranked rather as a lyric tenor, even cumbs to the temptation of trying to launch a quick though he gave magnificent performances of purely success. And the greater the natural gift, of course, dramatic roles like those in “L’Africaine,” “La Juive ” ’ the greater the temptation. Actually, there is no such and “II Trovatore.” thing as a quick success, The artistic integrity which rne tmra, and most important, problem of the is the sole test of real success results from one thing young tenor is a purely technical one. The tenor is only: deep, concentrated, intensive study. No singer really an artificial voice, especially in its superstruc- should even attempt advanced work—let alone pro- ture, and its perfection may be said to date from the fessional work—without three years of basic vocal time that Garcia learned how to extend the so-called FREDERICK JAGEL study. And those three years are a minimum; they ‘chest register’ above As Riccardo G above the staff. (Let me digress in "The Masked Ball" should be reserved for the mastery of tone production, here to make it clear that there is no such without thing actu- a thought to r61es or performance values. The ally, as a ‘chest voice’ found it helpful to sing the vowel OO (U) beginning or a ‘head voice’ or any other young singer can on I do himself no greater harm than to special ‘kind’ of voice. There middle-C and going up five notes to G. Then is simply the voice, which make a quick jump into ‘big’ roles, no matter how must be begin on the next again five equalized in all registers of range. upward note and sing flattering the prospect We use B. may be. Even when he has put terms like ‘chest’ and ‘head’ notes, continuing the exercise until I end on high simply as guides, to indi- himself through his full scope of studies, he still needs “Another sus- cate localities of reflection where exercise I find helpful is to sing on a the singer is most years of practice in rubbing off the rough edges of his likely to be conscious tained and supported superficial of sensations of vibrations humming tone (not a work and in preparing himself to place while C take his be- producing a hum) , using a full low given tone.) The tenor’s great octave scale this time, from side experienced artists. His years of basic production up training, problem, then, involves the emission to E, and following this with a five-note exercise then, should of full vibrant be followed by at least three years more, sustained tone-quality, until the top note both the from the more natural reaches F. Then I repeat doing small or leading roles with less lower important organ- tones (around G) to the full-octave scale and the on the vowel less natural higher tones five-note scale izations. Further, it is of great importance hip ah. that he to high-C and sometimes above that) . Further it in keep constantly in touch with his teacher, for periodic volves not merely the production of these check-ups on the state of his vocal emission. tones but the equalizing of what seems A Good Teacher is Essential to be a change from the called chest (or lower) register As an aid in helping between the The Danger of Forcing to the so-called head to bridge the gap (or higher) register. lower with It is absolutely and higher registers of range, I begin again “The second problem confronting necessary that toe the young tenor continuity of upward range be the vowel OO (U) second line achieved with nut- , starting with (on the is the danger of trying to force quality. G The dream of slightest indication of a ‘break’ of the staff) until the between the lower and working up chromatically every man possessing a tenor voice is to blossom and forth upper registers. It is top note is A-flat on the absolutely necessary that above the staff. Then I repeat, as an authentic dramatic tenor—which happy status continuity be achieved without as * n the practically forcing. For this real word lonely. is nonexistant today. The true dramatic son, the mere Drills acquisition of range (the mere and exercise of this kind are very helpful" tenor depends on natural timbre—a combination of hit abilifv to a high tone) is meaningless but it should always the mere quality, color, and resistance— unless be borne in mind that and this should never of that tone is ’^ explanation how absolutely equal to that of exercises cannot teach a person be forced. If the voice has dramatic possibilities, the tones, of^heTthe l0Wer and flows naturally from to sing. Neither can production, teacher should recognize them after them reading books on voice two or three years The first step in or listening voices developing range thpn io + v to the of study, and, if he is a wise teacher, recordings of well-produced he will then begin awarely for fine tone 1Sten teach a but quality anfin person how to sing. All such aids are good, to develop them slowly. The, study of arias and roles alert for nSC10USly the sensations felt ere as aids wha wh” good tnn° - They give you basic idea of should U , a never begin with dramatic repertory. ,;J’ 1 It is far duced. Avoid singing should its roin here go back to to then play Trio on next page. for effect. Don’t be done, and sound in the sign (^) and play Fine ; be content with how the ‘doing’ should finished ’ result. But the Page i66 Copyright 1947 444 "MUSIC STUDY ex- (.Continued on by Theodore Presser Co. British Copyright secured EXALTS LIFE’ AUGUST THE ETUDE 1947 445 — — — — — — — —

AT THE FIREMEN’S CARNIVAL The composer of this little American humoresque has displayed great ingenuity in imitating, through the harmonies, the sounds of the hurdy- gurdies and the at a street carnival. rumpus The composition should make a fine recital program novelty. Grade 3.

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, 5 3 - • a «i ' — - . = F-sharp ,*j NOCTURNE Major, Minor, L . F and m _ la -fc nocturnes'in G i tinctive rr.ryp ^ i-n i verydis r pj of a group of three J rf 0 — is one notable work of the immortal Polish- French master Mozart, his own works slipped into - This and a 4^ devoted to' Bach r 0 prescience. Although he was. ~ All of his published compositions show an amazing ^'^7 decades ahead of the music that was being Minor. n odulat.o with its gorgeous chromatic new and fateful field all Ins own. This nocturne particularly, divination. Oracle o. Only Schumann mamlifested such prophetic powers of -itten at that time. Op. — 7 ) U , L U*CV^1 FR. CHOPIN, 15, No. 3 0 * ! r h r- ) V # Iff -j — n — -f u r STS t4 i _t p ‘T v* fM

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. FELIX MENDELSSOHN Trans, by Norwood W. Hinkle

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A IN SASH AND SOMBRERO SPK> lanK° W ‘ lh aflnU meIody,this composition is carried along- by its own rhythm, when properly mastered. Grade & FRAGRANT GARDENS August musical garden in full bloom. milo Here is your The composition should be played with buoyance andr warmth, with careful attention to the' staccato stevens should be performed so that they sound crisp notes, which and fresh. Grade 4. TOSEPHM' HOPKINS Allegro leggiero (J= 120 )

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Copyright 1946 by Theodore Presser Co. British Copyright secured AUGUST 1947 455 —

Grade 3. WAY DOWN SOUTH WILLIAM MOUNTAIN JOURNEY Sprightly (J=oo) 5 4 (PRELUDE) a i A

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BLOSSOMTIME BLOSSOMTIME

SECONDO C. C. CRAMMOND, Op. PRIMO 137 (J=-i44) C.C. CRAMMOND, Op, 137 Tempo di Valse (Jr 144 ) Tempo di Yalse 5 5 m * i £ £ m m iS^

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Copyright 1924 by Theodore Presser Co. secured 456 British Copyright * From here go back, to the beginning and play to Fine; then play TRIO. THti JSTOOS AUGUST 1947 457 I ANDANTE, FROM SONATA G. F. HANDEL GOD CARES Helen A. Casterline

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Copyright MCMXX by Oliver Ditson Company Copyright 458 1946 by Theodore Presser Co. British Copyright secured AUGUST 1947 459 Pin mosso

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Copyright 1946 by Theodore Presser Co. 460 etvv* a the EGGST 1047 461 BRIGHT SUNNY DAYS CADET CAPERS 'Grade 1.

J- J- MARCH HERMAN BELLSTEDT Modcralo (J. r eo) THOMAS Arr. by Bruce Carleton Grade 2. rpemp 0 di Marcia (J =120) * £ 2 1=5 f Wf b P E5 i 1 4 5 3 3 13 5 4 4

FIVE LITTLE Grade J. CHICKADEES Moderate (J = 112) SARAH COLEMAN BRAGDON ;

served as musical director of one of Music Molds Our Philadelphia’s leading radio stations. The concertmaster is a salesman of pipes. The Emotions manager is a furniture-salesman. In ad- dition to assuming the duties of man- from Page 429) (iContinued agement, he also plays the viola. His son plays the French horn (and is an ex- Presenting the Magnavox international circulation. a cellent piano tuner!), and his daughter g attempted here to touch lightly Thave plays the ’cello. With this people’s or- things music can do for of the chestra, uuonUP some I played the Rachmaninoff Con- has been said, I hope, quality radio-phonographs at $198.50 But enough certo No. 2—and got far better support A now standard of value in with the fact Jthat music ^“'mnress you than I did from one of the country’s ° force in life subtle and powerful a„Ta best-known under a summer make a summation of some of tone and fine furniture which distinguish t et us conductor! My performance fell coinci- The incomparable investigators attribute qualities that now combine the dent with the York Orchestra’s fifteenth Magnavox from all other radio-phonographs C season, and for the first time in its his- modern manner, the bodily functions, in the new MAYFAIR. Styled in the ^°Music; influences tory, it began paying its players a salary. blood pressure, respiration, instrument is available in mahogany, _ uch as pulse, Arrangements have been made with the this remarkable glands, metabolism. tubes plus rectifier) endocrine Union whereby the paying of salaries can walnut or blond oak. A supersensitive radio (8 it can stimulate without 1. specifically, still be reconciled with amateur status; Magnavox speaker; fully 10-watt power output; 12-inch Duosonic a “hangover. leaving and the groundwork is laid for a most plus many other other hand, depending on record changer with noiseless pickup; 2 On the creditable achievement in community art. automatic can relax, calm, and priced instruments. the kind, it In fifteen years of zealous idealism and fine features found only in higher the individual. Certain drugs genuine soothe hard work, the citizens of York have unequaled value at $198.50. With static-free, this but they usually An will also do really municipal built themselves a mu- amplifier tubes, two undesirable after effects. Music Armstrong FM (14 have sical life. I’d like to see that same thing tuning tube), $263.50. has none. happening in other towns. Perhaps I rectifiers and one the senses. at any time. 3 It can sharpen shall, for I have the deepest faith in the The FM chassis may be added BERNARD WAGNESS or decrease muscular AT THE BARN DANCE i It can increase American people.” Grade 2. Modcralo energy. Probably the greatest effect of music is on the emotions. change undesira- 5. Specifically, it can moods, substitute ble to desirable Summer Symphony cheer for gloom, bring peace when worried. the Air direction of an Programs on 6. It can change the action started in the mind, especially (Continued from Page 430) valuable for children. were enjoying themselves hugely. 7. It can stimulate the imagination. The broadcast of June 1, featuring the 8. It can help build character. Collins as con- balance. British composer Anthony 9. It can give the individual ductor, was an enjoyable concert, with E. 10. It can lift one "out of the world” Robert Schmitz giving a brilliant per- into a spiritual state and bring one formance of Prokofieff’s Third Piano back restored, body, mind, and spirit. Concerto. Later, on June 4, Mr. Collins was heard on the Invitation to Music program introducing his own arrange- ments of a Handel overture and an Arne of an Artist Observations "Dance Suite,” which were quite delight- ful. On June 6, Bernard Herrmann re- on Tour turned to the podium of the CBS Orches- tra and as usual proved his excellence as (.Continued from Page 427) a program arranger. One welcomes his tions—in encompassing big stretches, this inclusion of Benjamin Britten’s Sea In- degree is of necessity less than when in terludes and Passacaglia from the com- playing three adjacent notes. Keeping a poser’s opera “Peter Grimes” and the sel- loose wrist facilitates such adjustment; dom played tone poem, Tasso, by Liszt, on Handel- indeed, it is our only means of rotating, the program of June 15, and the or of finding our way along and across Beecham suite, “The Faithful Shepherd,” restrained the keyboard. Try to play so that every and Faure’s charming and- Debussy finger-stroke (of putting down a key) suite which he wrote, long before produc- has the balance of the entire hand be- penned his opera, for a 'London “Pelleas and Mel- hind it. In other words, when you move tion of Maeterlinck’s from middle-C to the G above, don’t isande.” pro- move just one finger, but rotate your The NBC Summer Symphony EDT) Whole hand. grams (Sundays—5:00 to 6:00 P.M., 1 Where to Buy Your Magnavox: To insure your after the are by way of a bit of a letdown complete satisfaction and minimize distribution number Municipal Music Life Toscanini winter broadcasts. A cost, Magnavox is sold directly to and only through conductors to the air and to NBC For your nearest dealer, con- “I love to explore problems like these of new selected fine stores. featured. The programs have telephone directory or write to With the young folks in our college towns. have been sult a classified several distinguished soloists, Company, Fort Wayne 4, Indiana. But the artist on tour sees a great deal presented The Magnavox in selections that are of more than collegiate music rooms. One but not always l.h. But the program still of the finest and happiest things I have prime interest. and often rewarding mu- seen is the of a offers a pleasant splendid development not give truly and since NBC does civic orchestra. The one I have sical hour far enough ahead especially in of out advance publicity mind is the orchestra as to York, enlighten our readers Pennsylvania. I suppose there must for us to a vox next two months he other what’s doing for the organizations like it—I hope so, local for that you consult your it ^ exactly we suggest the sort of thing we what s should a good idea to look up have in every of 10,000 in- papers. It’s town like this during habitants! scheduled for a program The York orchestra is in every some sense previous week; in that way if a real people’s orchestra. All of its the are being played you P aying members town; favorites of yours are citizens of the tune-m at the hut are not apt to forget to a few are amateur musicians, me 1 earning time. During the sum ^’ their livings in other professions. appointed . °' forget a favorl Pr e conductor, am told, folks often Louis Vynor, is a profes- participation*f in 10nal through inertia or musician and a very gifted one. gram havini8 worked under Stokowski and other diversions. 465 AUGUST, 1947 hi . . ” — — — • ! — iv

^ ^ ^ ^ ^ ^ A ^ ^ Competitions ^ Developing the PIANO TEACHERS r Voice dollars is offered Questions ! TEACHERS’ A PRIZE of one hundred Tenor Voice Bro„ under the auspices FLASH A bv J. Fischer & LOOK Organists, to of the American Guild of I ( Continued from Page 444) PERENNIAL composition lor CARDS : the composer of the best TO SPEED DRILLS ( ff any musician re- tremely delicate and important task of the organ submitted by States or Canada, the CENTURY FAVORITES carrying out the hints and the explana- siding in the United ly DR. deadline for submitting entries is Jan- jjmwcrJ NICHOLAS DOUTY for Teaching Beginners O tions must be dine under the super- full details may be FOR uary 1, 1948, and vision of a careful teacher, who serves Guild secured by writing to the American TRANSCRIPTIONS are a feature of Century your ears. one New ESSENTIAL Sight Reading both as your guide and No of Organists, 630 Fifth Avenue, Edition. Whenever you are looking for a well can really hear himself. Partly because Upper Tones Break audience hears it. York 20, N. Y. The Singer Whose Our advice is to stop it. TECHNICAL MATERIAL the July 1943 issue of The 2- Naturally if you sing edited simplification, look to Century Edition of the vibrations produced while we sing, a -Please note too heavy a chest Complete Set of 32 Cards, Keyboard Finder and Durbin's article "Music Gave voice on the low tones, when you change into partly because of the tendency all of us thousand dol- in Deanna 3. Book of Instructions — Only 50 likely find it there at PRIZE of one E first . . . you'll very 20£ A FIRST ' this article the medium , Career ” the second part of tones there will be a break. If have to be encouraged by our own prog- prize of five hundred a copy. lars, and a second “ Stubborn Vocal Problem" was what you say is true you are not taking them composition We thought that everybody knew about headed A Drill No. 1 ress, we cannot judge of the way we dollars, are the awards in a Cen- daughter has had the too high. However allured be their tury's excellent technical middle voice. My strength quickly learned by tiny tots, For stressing visual 3653 Alla Turca, Am-2 material but iust the the SIGHT-PLAYING easily and announced by the Jewish Music voice is stronger than and color, you may be singing sound—even in our speaking voices. For contest other day a teacher trouble; her lower these low tones accuracy 3213 Amaryllis, C-2 Ghys was surprised to learn that Tame or beginners of any age, with these Speed Drill Cards. Awards Committee, sponsored it thins out, and is weak; too thickly, too much in the chest, too far this direc- Council we had a line it voice where back 3382 Andante Cant., 5th Si/mph., F-2. Tschaikowsky reason, we need the constant such that was really fine and The high Makes teaching easier and quicker for class or individual Welfare Board to upper range it will in the mouth. Or you may be developing by the National Jewish progressive. So just in one point in the them 2593 Anitra’s Dance, Am-3 tion of a competent teacher to point out case there is another 2d at instruction. composers “to write musical can be done to remedy this? She at the expense of the rest of your scale. You 3667 Barcarolle, June, Am-2 Tschaikowsky encourage piano teacher somewhere who doesn't know break What to us exactly which tones are of desirable shall many pretty turns might try not singing them quite so loud and content and which is a list of technical beautiful voice with 3384 Cortego du Sardar, C-2 Ippolitov- Ivanov works of Jewish here material that is neces- L s a consist 32 cards with so thick, and with more of EASY TO USE— Speed Drills of quality (and which are not!). It is by tradition of the sary every wonderful breath control. She has the upper resonance. 3385 the . . .Ponchielll spirit and to teacher . . . prices has Dance of Hours, C-2 reflect the vary but all in it instructions for their use. On body which singing requires, Consult your teacher. complete and easy-to-follow 3216 Eleflie, Em-2 associating the sensations in our vocal The dosing date is Sep- are reasonable. the health and Jewish people.” Jean is picture of the note on the staff which cor- looks, and so forth, but there is 5. — de Reszke sang baritone quite suc- each card a 2594' Evening Star, Tannhauser, G-2. Wagner tract with the production of the tones contest is open to personality, tember 1, 1947. The Abrams, Scales in Double Notes (Thirds), cessfully in Paris the piano keyboard. Thus, No S 6 S'I’ 20c voice—the break. Can this until he met Giuseppe Sbrig- responds with the key on 3388 Finlandia, G-3 Sihellus that defect in the judged to be good, that we learn to be- all composers, without restrictions, and Abrams, Scales in Ooublo Notes (Sixths), Xo] 3638 lia 20c If so, how? She has a very who discovered that he was really a tenor. the student learns through his eyes, rather than the written 3656 General Grant’s Grand March, F-2 Mack Abrams, Arpeggios. Triads and Seventh Chords ever be overcome? come independent emission. full details may be secured by writing After a course of study with Sbriglia he be- in our vocal No. 37 26 . spoken word, the location and position of each note. Drill No. 2 3360 Gypsy Rondo, G-2 . 20c 6. or the Jewish Music Council Awards Abrams. Staccato—A Technical Discussion came one of the greatest tenors in the 2262 Hungarian Dance No. to world. For instant recognition 5, Gm-2... Brahms “And when such independence begins No. 3728 ’ care of the National Jewish joe He had a voice of beautiful quality; he was Drills are an advanced of keyboard positions. 2590 Idilio, F-3 Lack Committee, Burgmuoller, Opus 100. Twenty-flvc AN ADVANCED STEP— Speed to be won, what then? The young tenor Easy Studies 50 c Welfare Board, 145 East 32nd Street, Czerny, Necessity Studies. Especially a handsome man, both in face and in figure, 1820 Invitation to the Dance, C-2 selected from Durbin clearly indicates in her ar- step in aiding the student to quickly identify the note on has perfected his production and Opus 299 in progressive order A —Miss who 50c and he was a fine actor. We did not know that 2595 Kammenoi Ostrow, F-3 . .Rubinstein New York 16, N. Y. was in the middle voice, the staff with the key on the piano. These handy cards Czerny, Opus 299. Books I and that her trouble | bridged the continuity of progressing 2 Combined..!. 50c ticle there was any difference in their ways of 3392 Largo, New World, .Dvorak > C-2 Czerny, Scales and Chords, .Xo. .in and lower parts being good. She stress visual accuracy, recognition of the keyboard posi- 20c the upper teaching. De Reszke the tenor was a product of 2510 Menuet, F-2 Paderewski from lower to higher range is by no Duvernoy, Opus 120. Fifteen brilliant studies also. First The middle voice 50c tells the reasons — tions, producing rapid visual, mental and muscular CHORUS an- Hanon-Burdick, Virtuoso Pianist, Part i, SbrlgMa’s studio unquestionably. 2160 Minute Waltz, Eb-2 THE UNITED TEMPLE 2379 20c neglected. Second—Singing means ready to launch himself as a Hanon-Burdiek. Virtuoso Pianist. Part \o. had been badly 4. coordination. 2194 Orient^ie, Bb-3 nounces the Fourth Annual Competition 2. 23 80 20c —The schedule of lessons and practice as Heller's Necessity Studies. From Op. 46 mouth closed which made it impos- finished singer! His next—and perhaps and 47. with the outlined in your letter is rather strenuous for 3369 Rustic Dance, C-2 of the Ernest Bloch Award for the best Selected studies in progressive ord«r * . 50c release good tones. Third—The voice pictures. sible to a girl of your age. Both you and your teacher THE LARGE NOTES make vivid mental This 2196 Serenade, Dm-3 hardest—task is to adapt himself to the new work for women’s chorus based on Heller. Opus 47. Twenty-five studies for development prematurely. She of rhythm and expression had been forced from singing feature is important, but best of all ... children like Speed 3191 Waltz, 5Q C should be careful that you do not overdo your Skiers’ C-2 . Waldteufel completely different environment of sing- skill a text taken from or related to the Old Kohler’s Method, Op. 249, Part I, Practical the remedy adopted with great Method tells also strength. Too ambition is as bad as none Drills. They should be used at the first lesson, and the 2466 Song of India, G-2 Rimsky-Korsakoff for Piano much Drill No. 3 ing in his teacher’s studio and singing on Testament. award is one hundred and soc and her teacher, namely: “I had The by herself There is only one possible danger in daily practice. 2158 Spring Song, G-2 Mendelssohn Kohler. Scales and Chords. So. 1312 20c — pupil should have a set for home For stressing rapidity fifty pubheation Carl work for an hour every day in order to Tales a stage where his responsibility is not dollars and by Martin's Elementary Rudiments for Piano, to whistling; continually puckering the lips might playing the keys 3398 from the Vienna Woods, G-2. Strauss faults.” Book No. I smooth things out and to remedy these 2464 Traumerei, F-2 merely to get his tones out correctly, but Fischer, Inc. The closing date for entries 75 C possibly tighten the throat, the tongue, or the SIGHT-PLAYING is becoming more and more of a re- Martin's Major and Minor Scales and Principal letter correctly, your daugh- is all details be If we read your If you are careful of these things can 3192 Two Guitars, F-2 arr. Armour to his November 1, and may Chords 75c jaw. we quirement of pianists, and students at the very start, should add share to a homogeneous per- trouble is quite different. "Her Schmitt, Five Finqcr Exercises, Part I, ter’s vocal . whistling. 3671 secured by writing to the United Temple So. 120 7 20c see no harm in be trained to attain it. Speed Drills will lay the foundation formance. I cannot sufficiently stress the Schmitt. Five Finger Exercises. Part is stronger than her upper voice 2143 2. Vo. 1208.. 20c lower voice We have already answered your sixth of Danube, . Waves . the . Am-2. . .Ivanovici Chorus, the Ernest Bloch Award, Box 726, — Century’s Manual of Harmony by Walter Rolfe.. 25c at one point for proficient sight playing. importance of this sudden and often be- which thins out and is weak and question at the beginning of our reply. Hewlett, Long Island, New York. Century’s 64 page Musical Dictionary 15c quote your Ask your dealer for Century If in the upper range will break.” to Edition. he can- wildering change of approach. You may 7. —Perhaps the headaches after singing, — Speed Drills may be obtained If had only the opportunity to GET YOURS TODAY Ask your dealer to show you this material. If own words. we come from the length of the lesson and prac- not supply you, send your order direct to us. rank as the ‘star’ of all your teacher’s certain as from your local music dealer, or send direct to us, the pub- he cannot supply you, send your order direct to hear her voice, we could be more tice periods. Try shortening them slightly, and pupils, you win THE PHILADELPHIA Art Affiance an- lishers. Complete set of 32 cards with instructions, only 50c. Our complete catalogue listing over 3800 num- may nothing but praise us. Our complete catalogue listing over 3800 to the remedy. We do not even know whether feel exhausted. nounces the twenty-third annual Euryd- stop before you for your execution of drills is she is soprano or contralto. As well as we can bers is FREE on request! studio or stu- numbers FREE on request. Drill No. 4 ice Chorus Award for a composition for judge, your daughter has developed her lower dio recitals, and still find yourself com- How Should She Choose a Voice Teacher? For stressing rapid vis- women’s voices. The prize is one hundred tones at the expense of the upper ones. Per- JENKINS MUSIC COMPANY, Kansas City 6, Mo. Q . —1 am almost sixteen and I wish to start ual, mental and muscu- CENTURY MUSIC PUBLISHING CO. pletely at sea when you step upon a pub- CENTURY MUSIC PUBLISHING CO. quality” in dollars. The closing date is October 1, haps she is using too much "chest formal training of my voice as 1 shall soon lar coordination 49 West'43rd Street lic stage. That is because the public full details 49 West 63rd Street New York 23. N. Y. the lower voice. And she may be taking this New York 23. N. Y. 1947 ; and may be secured by be employed after school, and can pay for my quality scale. The upper standard of professionalism is based, not writing to The Eurydice Chorus Award too high up in the own lessons. I have had three years of piano. tones, it would seem are produced with a on tonal production alone, but on well- Committee, Miss Katharine Wolff, chair- How shall I go about choosing a teacher? I somewhat stiff throat which prevents their like personally but she rounded artistic eminence. man, The Philadelphia Art Affiance, know a teacher whom I And that re- % proper resonance. Consequently she may force Classical teachers ev- 251 gives all her guidance to one or two favorites, quires experience! Experience in South 18th Street, Philadelphia 3, Pa. TEACH erywhere are finding musi- them, and if she does they will occasionally while the others are sort of “stringing along." I break. Freedom of the upper tones is only the answer to the prob- LEARN PIANO TUNING AT HOME cianship, and in performance-values, know I would not get very far with her unless MODERN PIANO possible where there is no tightness of throat, lems of teaching popu- along with vocal practice. For this reason, THE INTERNATIONAL BELA I was one of her favorites, which isn’t probable. Piloid! WITH OUR NEW PATENTED TONOMETER BAR- tongue, jaw palate-lingual muscles. » lar music, in our mod- Results or of the cannot take up singing as a vocation for my by note . . . the my best advice to ambitious young sing- tv/ GUARANTEED! I fimpIdiTukiucatSfmria ern, up-to-the-minute scientific TOK Competition for Contemporary We build, strengthen the vocal organs— Perhaps you might suggest these things to her uncertain career to A teaching-tuning instrument. Sim- sound, sci- parents think it is too a ers is to not with singing lessons—tut by method. Based on sound plifies learning, eliminates guesswork, and as- make haste slowly!” Music, will be held in Budapest October entifically correct silent and vocal exercises, and to her teacher and ask them to experi- on. I would like to cul- waste time and money CHRISTENSEN principles of music, it sures accuracy. 22 to and absolutely guarantee complete satisfaction ment with them. say that we your piano technician as care- 31, 1947. There will be contests for with results. Write for Voice Book. FUF7E. ?ent to no Again let me tivate voice as far as local teachers could Choose hinder one my will help, not under 17 years old unless stoned h>’ parent. would be if had a fully as you choose your professor. We teach precision tuning, action regulating, pianists, violinists, string much more certain we had I have some talent for 1 have always WAY Fran- quartets, and Ill- help. I feel classical studies. PERFECT VOICE STU0I0S, Studio 5S8-C. Kimkall Hall Bldg., Chicago 4. personal voicing and fine repairing in one practical, audition. You might read Miss Marian parts in the school musical Members of the American Society of will give composers, with substantial prizes in all been chosen for chise contract easy and complete correspondence course. Anderson’s fine issue of Piano Technicians are master crafts- A of article in a previous productions, once obtaining a leading part. The right to teach and advertise our The World Music classifications. The dosing date is rigid you exclusive great shortage of piano tuners exists today. Sep- The Etude and articles Crystal men who have passed a most some of the by trouble is voice lacks power and res- method in your community, if not represented. Here is a well-paying, uncrowded field. After tember 1 and full details chief my examination as to their ability and may be secured Waters. details. En- ( Continued from Page 421) onance. I have a mezzo voice with a range Our 43rd year. Write for complete two or three months you can begin to earn from the Bela Bartok Competition, integrity. Buda- Middle-C to G two octaves close $2 for complete, 91 page instruction book. money. Our School established ill 1898. Ap- from G below The extra skill they offer is your as- pest, Hungarian Radio, VIII., Brody proved for veterans under G. I. Bill. Send for HENRI CASADESUS, noted French com- San- Seven Pertinent Questions Front a Contralto above. Most mezzos 1 have heard have very surance of satisfaction. free booklet. dor-u. 7, Hungary. instruc- . voices. I feel that POPULAR PIANO poser, 'who was the founder and presi- Q —I am a contralto with a range from low rich and powerful See your phone book for members, PLAY C to E-flat been tion might give me the power. Please advise or write to NILES BRYANT SCHOOL dent. of the Society of Antique Instru- are some things that above high C, and I have PROFESSIONAL studying to choose the right teacher.—M. E. C. LIKE A n. cannot be generally told... two and one-half years. I play string me how P.O. Box 5565 Washington 16, D. C. ments, died May 31 in Paris. He was LUJNiEbi, spor know ... bass in our symphony orchestra and have a sored by the Rachmaninoff things you ought to with our BREAK SHEET SERVICE sixty-eight years of age. (Henri Casadesus Fund, Inc of the habit of music. Is You are not quite sixteen and have never amazing discoveries humming along with the A.— playing extra will be held during the with It brings you clever arrangements for 1947-48 seasoi hidden processes of man’s this bad for voice? id a singing lesson. At that early age and is not to be confused with the well known my choruses of eight popular “hit parade” tunes. Gives The Fund’s national finals of 2. — the underlying principles of in the fir: mind and the mastery From low able to > knowledge of pianist and .teacher, Robert Casadesus.) C to Middle C I am OF PIANO TECHNICIANS you breaks, novel figures and tricky embellishments, contest, scheduled for this life’s problems. Write to carry a heavy singing, how can you expect to have spring, ha\ chest tone which changes at C e art of 1022 W. Garfield Ave., Milwaukee* 5, Wis. ready to fill in. Single copies 25c, stamps or coin. day to: Scribe P.C.W. and there powerful voice? The mezzo been postponed to the spring of is a noticeable break. My teacher resonant and Send $2 for ten consecutive issues. 194; desire BARON GEORG VON TRAPP, head of Regional says it “iss all How whose voices you admire and auditions for the first conte us? rosicrucian.s nonsense in der head.” pranos • California can I children like yourself, but held last (amorc) San Jose overcome this? emulate, are not the noted Trapp Family Singers, died autumn produced only two fina THE CHRISTENSEN 3. In what method matured women whose voices have been AT LAST! A COMPLETE TREATISE ON METHOD ists Gary Graffman way is the de Reszke illy Suite Kimball Hall, Chicago Illinois HIGH TONES May 31, at Stowe, Vermont, at the age of — and Ruth Geige related developed by years 754, 4, to the Sbriglia swly and painstakingly TRANSPOSITION who will be eligible method? sixty-seven. Baron to compete 4- Do try to be covering ALL problems of transposition. Von Trapp came to in "ti My teacher has great ideas for me and hard and consistent practice. AND HOW TO SING THEM 1948 Send for folder to the author finals. The deadline for the LEARN "SWING" MUSIC nsists that really have the two octaves America in 1938, with the Baroness Maria new cor I take three lessons each week and lasonabie. If you St., York 19 Quick course to players make your Charles Lagourgue, 35 W. 57th New test is September of all instrument*— o-ue in your letter, it 1, 1947, and full detai own arrangements of “hot” breaks, choruses, obbligatos, three forty-five practice periods good tones you mention By Frederic Freemantei Augusta von Trapp, their ten children, tones, etc. minute may be secured from embellishments, figurations, blue notes, whole on that one or two upper tones Here’s good news for every singer, the Rachmanino ® yy week days and four on Saturdays quite likely and the Rev. Franz Wasner, conductor ARRANGING n of singing in- Memonal Fund, Inc., Duets, c ho™®*? Sundays. as your knowledge particularly those with any ner- 113 West 57th Stree trios, quartettes and ensembles— special fr Is this going a little bit too far? ill be added ' ,7 ’ > and family chaplain. anticipations • breathing muscles r vousness over high tones. In this Since then, the New York —modulating to other keys suspensions What on the As you develop your ~ — 19, N. Y. effect does whistling have cases i —organ points color effects—swingy background! voice? of the res- new, practical book, just off the Trapp Family Singers — get to understand the use have made over Write today. so and Q—i,— 1 6 richness of r r^L-pl-l press, Mr. Freemantei tells you in Is the volume and the 700 concert appearances in this country. ELMER B. FUCHS M v .r~ my range good if I am able to sing lances, both 335„ N. Y. unth increase. l 4 clear understandable language, how axic- i' Kir,A us ol East 19th St. Brooklyn 26, equal facility voice should proportionally llarvy Gaul, Inc., arc up to high C? jur 3 to have the thrilling lop tones so '•—i teacher who is able to sponsoring lts first am frequently headaches —You must find a composition contest troubled with 2 P vital to success. He says, “Nothing LEON VERREES, composer, organist, ner m lessons. clearly each step in your prog- Divffied into two classifications, V Why is this?—J. W. tplain to you can stop you from singing them an is taken, award occurs, before the next step kp and since 1937. head of the Organ and will be given ss as it v>:,l, -4 k,. — for .— with joyful enthusiasm uhen you understand the cor- the best composition YOUR undivided T foi . IMPROVE must be willing to give you his Y— rect rules'* Send $3 today for Violoncello departments of Syracuse organ, and tor range you specify is unusually long, e your copy of HIGH Uni- the best anthem for are in his studio. If he does mixed • s you tention when you TONES AND HOW TO SING THEM. C suggest in question six, you are able A. versity, died April 26 in Syracuse. Born T le dead e is PIANO PLAYING the teacher for you, no 1 A A A A A A —A A !'P September 1, and % sing do this he is not fulif °ii !r. with equal facility up to high C. If D t You in Belgium, Mr. Verrees came to details may be secured Technique of piano playing” Introductory successful he is with others. This music sample was taken from the Robert Whitford piano solo FREEMANTEL VOICE INSTITUTE the by writing tc is so you are atter how "Morning Mood." Price The Friends 24 Lesson Course on chords for those who Offer lucky indeed. for such a man and United of Harvey read notes. diligently search at your favorite music counter or direct from the Dept. E-8 Steinway Hall, 113 West 57th Street States in 1920. He was a member Gaul Contest Teaches the chords thoroughly Hummin g while you play a string bass ,ust 40£ ROBERT WHITFORD PUBLICATIONS, In their various positions on the keyboard, Dart have found him work for him with New York 19, NeviuYork of the erdinand FilUon which is the key to “popular playing”. ar Scarcely hen you Dept. 5E, 18 North Perry Square, Erie, Penna. Ask for catalog and copy of The American Guild of Organists and - Chairman do y°ur voice any harm. We PIANIST . voice, talent, f Money refunded if returned in 10 days. shnni^ li- Strength. If you have a y eDUe .‘o* n 1 your ’ PiUsburgh 6 *”c tor Sample Lesson. k your conductor would object to magozine, both free. Stote if teacher. organized the Syracuse Chapter. - Penn- S?.. it an? you will certainly improve. sylvania WILLIAM A. OTTO. 2E. Park Ave., 1 o perseverance 421S TComple** it certainly if the id Union City. N. J. would be unpleasant 466 "MUSIC STUDY EXALTS LIFE "MUSIC STUDY EXALTS LIFE” 467 THE ETUDE AUGUST, 1947 — , :—

the first note libly from to the last Suppose you had arranged a The Importance series of dominoes on the floor in a very intricate and had spent all of the Piano pattern, the time nec- essary to insure that they were exactly Orgm mu Choir Questions order. A push on the first music the Organist in domino r>we mur For all of the 6 wifi set others toppling in Continued from Page 437) succession. The sequence of movements ( this {f/ovnous new voice in a well-learned piece functions simi- by learned some of the _s4niivereJ FREDERICK PHILLIPS those who have not larly> excep t, that this sequence will last looking it up modern French Music, start a lifetime if properly refreshed from suggestions. and apply some of these time tQ time. Messian, L’Anglais, you tell me where I can find some I should also like to know your opinion Look out for works by Nevertheless, a * performance should a Can of get about the structure of the melo- my action in closing the shutters on the con- FIRST PIANO BOOK. A modern preparatory book Allain, so forth. If nothing else, entirely automatic information VERY and never be in the sense into use before or after the gregation side of the L’Anglais . Did it come organ. It is my contention Evangelique by . (. I have come across that to precede any piano method. Contains full size five- the Poemes tha( you j e your fjngers p i ay Whiie you organ? My friend and better balance between choir and organ Nativite for next Christ- which we would like to repair and is obtained, with a minimum loss -75 and learn La ^tiink of irrelevant matters. Your mind an old one of volume in octave staff notation chart $ A. G. the church proper. will get much out of it and so possible—T. —D. L. P. mas; you sh0U]ci be like an alert executive. It use if sure to learn with will your congregation. Be watch that the proper of difference between the A. do not FIRST GRADE BOOK. For pupifs of average age tempo is A The chief point We very well see how it is pos- in the notes on the piano. adopted, the proper balance and the harmonium is that the sible to arrange the choir so that all members exercises 1.00 maintained melodeon special preparatory air is forced outward through the face you during the singing of anthems, between the parts, the right turning latter the with- melodeon the air is drawn out a great reeds while in the deal of awkwardness, and inter- 1-00 taken in tricky phrases, and (even though suction. This gives su- ference with HAPPY HOUR BOOK , through the reeds by the smoothness of the service. it may sound paradoxical) that room control and shading. Its superiority is We believe that it is possible to so train the 1.00 is perior ADVANCED FIRST GRADE voicing of the reeds and the choir at rehearsals that it left for spontaneous warmth of color, also due to better will be unnecessary air chambers developed by Mason to direct them from the console at all. If their 1 resonant GRADE 100 ’ But your mind, like an executive, should SECOND n 1 J- F rrmi rfflninnrrr Hamlin. We have not been able to find work is thoroughly mastered, especially in at- IIL.J EI IF and JjmlQing Jriny Er LI y delegate details to subordinates namely, details of construction. tacks and shadings, they THIRD GRADE 1.00 anything giving could be depended to the muscular memory that the fingers upon to carry through their work on Sundays recently had a rebuilt pipe 100 have acquired through slow' Q Our church with the organ taking its rightful place as ac- FOURTH GRADE in Piano, Etc. practice. In the best organ installed My problem is finding companiment. If this could be done there would this way you can concentrate, in per- congregational singing as FIFTH GRADE 1.00 combinations lor , be no objection to the members on the con- in the congrega- ( Continued from Page 443) formance, on the same musical outlines there are jew trained voices sole side singing with their backs to you, since has to fill in a lot. The FIRST BOOK FOR THE ADULT 1.00 of which the listener is chiefly con- tion, and the organ your only direction would be through the or- stops are: Pedal—Bourdon 16 Flute 8’, Oc- gan alone. On this basis the choir could be impairs the beauty of the phrase line scious—the melody and the harmonies as FAVORITE MELODIES FOR THE ADULT 1 .00 tave 4\ Flute 4’. Swell—Bourdon 16’, Stopped fairly evenly divided between the two sides, only lead the observer to think whole. You can play 4', and can a with a larger per- Diapason 8', Salicional 8\ Flute Salicet 4\ and when they sing, both sides should turn 1.00 BOYS' BOOK OF PIECES the student is playing in an affected spective, and thus more artistically, than Hazard 2 2/3', Oboe Syn. 8'. Great—Diapason half toward the congregation (not all the way 8’, Viola Octave 4', Flute d’Amour manner. In playing a two-note phrase it if you have to concentrate on note-to- 8’, Flute 8\ fronting it), and in this way their voices 2'. (not installed 4'[ Violina 4’, Piccolo Chimes would blend as one when the reaches should be thoroughly understood by the note progressions. sound yet). Please advise best combination for hymn the congregation. In rehearsals (if you use the only after student that the arm is raised As a final caution, do not let yourself playing before and after the congregation organ), the entire choir could be arranged to the second note, and that a quiet arm is think ahead in a performance. In this starts to sing. Also what stops might be added face you. organ? S. L- S. essential to a musical execution of such respect, the process of playing from to the pedal — As regards the closed shutters facing the A. There is a very fine article on hymn play- congregation, we are wondering whether this a phrase. memory is entirely different from sight- ing by Dr. McCurdy in the February 1947 issue does not detract from the organ support of reading. slight Was it not Henry Ford who said that A worry about what is of The Etude, which we suggest you read. As the congregation in hymn singing, and even a manufactured product that was pleas- to come in the next phrase or on the regards actual stops to use in announcing the the full effect of shadings in the organ prel- the congrega- udes from the congregational listening view- ing to the eye was probably efficient also next page may disrupt the chain of as- hymns, and for accompanying tion, it is necessary to be governed by several point. We see no particular advantage in keep- PIANO. Preparatory of from a mechanical standpoint? Playing sociations for the passage you are play- BEGINNING AT THE book 32 factors—the type of hymn and the heartiness ing these shutters closed, but if all things at best requires enough nervous energy ing. If the piece has been adequately singing considered, it seems best in your individual pieces—folk tunes of many countries. May be taught by (or otherwise) of the congregational without complicating matters with un- prepared, your associations will work as particularly. Ordinarily the hymn might be circumstances, there would be no objection. rote, by a combination of rote and reading, and by reading .60 the Swell, using Stopped necessary false motions. well in the parts yet to come as in those played over first on Diapason. Salicional, Flute and Oboe, with Q. I notice in your Organ and Choir Ques- you have already played. tion column The Etude an inquiry about a AT THE PIANO BOOK I—Covers five-finger position, tonic Swell Pedal closed except for judicious cres- of your state- cendos. Where the hymn has a distinct melodic reed organ with pedals, and from chord tones, four-tone melody; use of quarter rest, etc.. . 1.00 I understand such instruments are made. line, you might use the above stops—omitting ment wondered whether two manual, oboe—as an accompaniment, and play the mel- I have often pedal reed organs, requiring electricity were AT THE PIANO BOOK II 1.00 ody on the Great, using Flute 8\ Viola and appreciate details as to Flute d’Amour, coupled to Swell. In case of made, and would full where one could be pro- AT THE PIANO BOOK III 1.00 the more jubilant hymns they could be an- make, price and Piano Music T will be a glorious day— that prefer classical or popular music nounced on the full Swell. Always use pedal cured.—P. M. W. AT THE PIANO BOOK IV 1.00 you’ll discover within yourself mu- stops to balance the manuals in quality and I day you first sit at a Hammond ( Continued from Page 424) A. Two manual pedal reed organs have been True or False in Harmony volume. start expressing your- sical depths no other instrument TWO PLAYERS AT THE PIANO 85 made for a good many years, and some firms Organ and To accompany the congregation better use release. formerly making them are no longer in busi- self in music’s most glorious voice. has the resources to your eyes can watch the keys rather than the Great for general occasions, using the Oc- ness. We are sending you the name of a firm the notes, so that the movements you tave and Piccolo only when you need particu- the mellow notes of range of tone and Land making such organs today, and they will be You’ll hear And the vast practice lar brilliancy. The thing to keep in mind is to are more accurate. glad to give you full particulars including woodwinds, the boldness of brasses, wealth of color of the Hammond support the congregation, give them something When you first memorize a passage, prices. to lean on, but don’t drown them out. Hard the tender sigh of strings lending Organ do more than glorify your O do not be discouraged if you know it (.Continued from Page 434) and fast rules are inadvisable, but judicious The Etude N 1942 issue play. IA Q. In the December of richness and color to any piece you music. They encourage you to less well the following day. Rememcize those having no tones in common. experiment will invariably bring out the best an article on “The Practical Mech- I ran across with ease, from can render any passage in procedures in phases of hymn playing. Rev. play. You’ll range, For you it on successive days until it finally sticks. True False both anism for Pumping a Reed Organ” by I have a one manual pump whispers of infinite beauty so many different ways that you’re Consider the 15. disjunct 4’ Claude Simson. hushed memorizing process com- In progressing from one Q- I have a good reed organ with a Viola organ which I would like to rebuild. Could plete in to thrilling fortissimos. constantly inspired to continue—to only when you can play it per- triad to another it is best to move the the bass, which I do not find particularly information about this organ Leila Fletcher Theory Papers—Vol. I 50 you give me any useful, as there is no corresponding 4' stop in explore to lose yourself in end- fectly the first time. upper parts in similar motion with the installation?—C. S. Whether you’re an accomplished — the treble. As the viola reeds are as large as Leila Fletcher Theory Papers—Vol. II 50 All great pianists advocate much bass. False or a novice whether you less hours of musical enjoyment. mem- True the corresponding Diapasons, could they be pumping mechanism musician — ory work away from A. So far as devising a the piano. This is 16. A Dominant Seventh chord (VD retuned to 8’ pitch? please tell me some- is Leila Fletcher Theory Papers—Vol. Ill 50 If so, is concerned, the article to which you refer by far the best one who P. way to reinforce your can move to other inversions of the same would undertake the work.—C. W. quite complete in itself. If, however, you wish Tropical Tunes— Fifteen very easy pieces to play or sing suggest that you memory. When you think through a piece chord before resolving. True False to buy an electric pump, we The Hammond Organ has been moved. It has long been used and A. We do not believe it would be possible to. very slowly without correspond with the firm whose name we are acclaimed by the world’s most —Olive Dungan 1.00 the score, you de- 17. The progression Dominant Seventh convert 4 foot as each bringing enjoyment to the homes reeds into 8 foot reeds, you stating your needs, and they will pend partly reed sending lovers for eminent musicians. If you would on intellectual associations in third inversion (V'C.) to a Dominant would have to be dropped a whole octave. possibility of installing of thousands of music Let's Find Out— Rote or Note Approach for the Piano advise you as to the — (as at the books, years. It produces all its like complete information if you beginnings of phrases) Seventh is Strong- motor. We do not know of any many , partly in root position (V") Q- such a I am the organist a small Methodist see, hear play Beginner by Genevieve Lake 60 on what might of available, giving details of the con- tones electrically and it can’t get would like to and the be termed a “memory of True False church, and appointed at present have recently been but a general outline Organ, without obli- finger-memory,’ but choirmaster, struction of reed organs, out of tune. It is hardly larger Hammond Peter and the Wolf— Prokofieff—A musical tale simplified mainly on an aural 18. The fifth of a Dominant Seventh with a choir of about eighteen Organ Method,” voices. is given in Landon’s “Reed a spinet piano, and is easily gation, mail the coupon today. memory which is made very Enclosed is a rough diagram of the than keen through chord is often omitted in the inversions. which may be had from your local music and adapted for piano solo by Chester Waliis 75 chancel of our church, which, in spite of its the necessity of imagining the publishers of The Etude. the tones. True False simple the dealer, or from beauty, is not too well arranged for organ in Fish- Five When you can is a chapter on the reed Play Me a Story— short pieces by Irving Mopper 60 think through an entire 19. progressing convenience major There A Subdominant Triad of choir and organist. My but as this is out piece without once Problem er’s book on piano tuning, resorting to the score, to a Tonic Plagal Ca- is how to seat the members of the for you to con- Under the Big Top—Suite for piano solo by Irving Mopper Triad is called a print it would be necessary .75 playing choir to of Hammond Organ the piece best advantage. There are two long seems ridiculously easy" dence. False your local library. True benches in facing sult it in MUSIC’S MOST GLORIOUS VOICE your finger-memory " front of the organ proper, is now an able 20. r0 as- A Dominant Seventh chord P console, from which I will be directing, sistant to the other kinds a ut of memory gressing to a Mediant (III) is called not long enough to accommodate the en- which have been ire group. will perfected. Hence choir Chicago 111 . the balance the cstem Av. , 18, Deceptive of Hammond Instrument Co. , 2929 N. W or Interrupted Cadence. 0 * S *° be 071 the 0PP0si te side of the chancel. True False naU Without obligation, send full details and address of nearest Memory in Performance those in this area face the congregation -Used estab- °r New --PIPE ORGANS Hammond Organ dealer to: 21. The three fundamental triads face the singers on the long benches, having The time spent in practicing eiT and mem- lish tonality, while the secondary triads b&cks to me? Our minister insists that Instilments^on orizing a th ?h°ir piece should establish shall not stand in front of the altar Name a chain lend color and variety to the harmony. (in of associations 71 ^ e con regation) singing the of various kinds n-nfi! 9 while that in True False anmems. In an actual view of that, would it be advis- organs. We solicit inquiries. Address performance, will work 480. e o i infal- The answers will be found on Page for those sitting on the console side to >oss Brothers - Organ Experts over and stand in front the singers on Delosh ne of Corona, L. I„ N. Y. City City P. O. Zone State 468 organ side, when 391 0-1 08th Street "MUSIC STUDY EXALTS LIFE" so that all could Jface me THE ETUDE singing? "MUSIC STUDY EXALTS LIFE" AUGUST, 1947 ” —

Musical Terms Use Vidliiv Questions Less Than THE BEST Accurately Don't Accept (iContinued from Page 436)

piano, the piano part is just as important as the violin part and is not an accom- ^Tlnswcred Lu HAROLD BERKLEY paniment to the violin. A trio consisting used as how it is of piano, violin, and violoncello is a piano ’ rol used. Pupils can be taught siring r badly i, It is difficult to say what from very good books— trio, and not a string trio. A composition ^"'oUr and often are. If response you so complete a lack of in happen to have The Etude for November for piano and string quartet is a piano cause be some fault inherent in 1943 you might refer to an article "Tr vioiffi » may of mine en- quintet. The leader of the first violin sec- it may be that you are titled "The First Year.” S’ instrument itself; It discusses elementary too thick or of poor teaching material tion in an orchestra is the concertmaster, ** strings which are at some length. perhaps it is merely that the bridge instead of the concertmeister, as we do Uualfty or 9 are out of adjustment*- From A Now York Repairer ' half of word. nH soundpost not Anglicize one a letter. I have a suspicion details in your Mrs. E. L. S., New Jersey. The only violin Descant or discant is a musical term most likely cause of your repairer S“ the last is the in downtown New York with whose advise you to take or send work I which has been in use since the twelfth , Wps I would am acquainted is Mr. Heckel of the experienced repairer tell him Heckel Music century. At that time the word implied jheviolin to an Supply Co., 34 East 22nd Street. and ask him to do the I can „hat you have told me, understand that it is a problem for you polyphonic writing, or the art of com- the instrument. At the same to go to the best hie can with uptown repairers, and hope that independent melodies which know the gauge of this posing were time ask him to let you address will be convenient for you. to the violin. Then you can so arranged that they harmonized with string best suited same weight of string whenever each other. At a later date descants re-order the Ole Bull’s Violins regard to your question vou need to. With J. A. B., New York. Exhaustive inquiries have meant the addition of a new melody to a don't use very much about rosin, I would say failed to bring to light any interesting informa- period it does not clot on the fixed theme. At another the term and be careful that tion about Ole Bull’s violins. He is known to of your thumbnail will re- designated measured music as against string. The edge have possessed, at one time or another, a large sticking to the strings. organum, or unmeasured music. In mod- move rosin that is number of instruments, the best of which, a set your teeth on edge, but it Doing this may Gaspar da Salo, is now in a museum in Oslo, ern times it is more generally applied to way to get rid of the rosin. is the easiest Norway. What his other violins were, no one art of writing a counter melody to the a seems to know, but the consensus of opinion is Materiul hymn tune and this art is especially Recommended that they were not particularly noteworthy. Ohio. No one could help ad- popular in England. Mrs. H. K. H.. Perhaps some of our readers have private in- determination and ambition with miring the formation on the subject. I might add, not for Today we find a large number of vocal returned to the study of the PERFECTED which you have your information. Mr. B., that the many cheap, playing at all for twenty years. instructors advertising the “Italian Meth- violin after not factory-made fiddles with the name "Ole Bull” well imagine that the first few months od,” and it seems to have about as many I can branded on them have nothing whatsoever to but you stuck to it. and I were discouraging; do with the famous violinist. His name was used variations as there are self-styled teach- that will find am quite sure from now on you merely as an advertising trademark. Polishing Is Important in the life and resiliency ers thereof. Briefly the Old Italian Meth- your pleasure in it Increasing from week to of strings. Over-polishing means weak strings are working intelligently along od was a system of training singers, which week. For you Reliable Appraisers . . . under-polishing dull, slow-acting the right lines. The books you have used are means relied chiefly upon using the vocal organ Mrs. V. E. C.. New York. As you are familiar all of good. For future study, I would strings. That’s why each and every Armour them with the article "Fine Fiddles—and Fakes’" in an unforced manner, under the stimu- suggest the second and third books of the which appeared in the January 1946 issue of String is polished to the exact dimension de- lus of a mental concept of beautiful tone Kayser Studies, Op. 20; the first two books of this magazine, there is little need, I think, for sired, without even 1/1000 of an inch varia- and the willing of its realization in the the Mazas Studies; and then the Kreutzer me to tell you that the odds against your vio- tion to end. Studies. After Kreutzer comes Florillo and from end And the diamond gauge singing. Daily lessons were begun at an lin being a genuine Stradivarius are quite Rode. For purely technical exercises, you tests made on all Armour Strings as a part early age, and imitation was relied upon astronomical. But if you have any reason to should do the Schradieck Scale Studies and the of Armour’s rigid quality-control, prove it! think it is a violin of quality, you should cer- to a large extent. Little was known at second and third books of Sevcik's Op. 1. So tainly have it appraised. Some very good in- The perfection of Armour Strings is the far as the bow arm is concerned, I think you that time concerning the physiology of struments bear fake Strad labels. I would sug- would get some helpful ideas from my "Twelve result of six important steps: (1) Getting voice, but certain vowels were recom- gest that you bring or send the violin to The Studies in Modem Violin Bowing." Solo pieces finest raw materials; (2) Protecting quality Rudolph Wurlitzer Co., 120 West 42nd Street, mended for the production of beautiful are hard to recommend, for I do not know or to Shropshire & Frey, 119 West 57th Street, by constant refrigeration; (3) Controlling tone, and other vowels were warned your tastes and musical capabilities. But from City. by laboratory tests; the following both in New York quality (4) Precision against as destructive, at least for early list you should find several that will please you: The Sonatas of Corelli and splitting of gut; (5) An exclusive Armour study. Good diction was required at all for Violin Making Handel; the Schubert Sonatinas; the Six Airs Tools tanning process; (6) Polishing to exact di- If wish tools is evidence Varies, N. L. H„ Michigan. you to buy times and there considerable Op. 89. of Dancla; "In Elizabethan mension desired. When you specify Armour for violin making, I think you should write to that the singers of that school sang with Days,” by A. W. Kramer; The Handel-Hubay Metropolitan Music Co., 222 Fourth Avenue, Strings, you know you are getting the best Larghetto; the Allegro by Fiocco-O'Neill; the great expression and feeling. Books have York City. (2) Probably the best book on Wieniawski’s Chanson Polonaise: the Concerto New because no other manufacturer duplicates been published in- violin making is “Violin Making as It Was and More Musicians use Armour Music which give reliable m A minor by Vivaldi-Nachez. Your path the Armour process of perfecting strings. would Is," E. Heron-Alien. The book has been out other formation regarding the teaching of the be made more easy if you were studying by Strings than any brand with a of print for some years, but it will probably be old Italian masters and the work of their good teacher, and I hope you will be that there is an able to find one. Good luck! available again soon. I am told pupils, but today I fear the term is used on violin making in a book excellent article Quality Controlled by ARMOUR to a large extent as mere bait to secure A Klotz Model called "How to Make Musical Instruments,” published by the “Popular Homecraft Maga- pupils. These unethical practices should Mrs. L. S., Florida. Johan Carol Klotz was 919 North Michigan Avenue, Chicago. be for Alathias Klotz, zine." A Large Collection Of Fine scrutinized by the general public, and a worthy repre- obtained, and you e This may be more easily any 0* bis family, though his model is teacher who can produce good sing- ,, probably find it very helpful. IVilluun <£ewi& andSon VIOLINS y somewhat smaller would nf ,t than the average Old & New, With Concert Tone ers has a good method whether it be Old tne Klotz 207 South Wabash Ave . Chicago 4, III. family. His violins sell today for Italian, French, English, German, or S an in A Genuine (?) Klotz SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. REDUCED 40% S °v f> E between three hundred and v ][ Pennsylvania. Without seeing the Send For New List. e dollars, Mrs. E. S.. WRITE FOR INFORMATION American. j. ? according to workmanship anj n instrument, no one could possibly say whether PUBLISHERS OF "VIOLINS and VIOLINISTS" S? ^'bon. But I must tell imita- FRANCIS DRAKE BALLARD This is a partial list of our tinn you that There violin of some 0tz your violin is or is not a genuine Klotz. America’s only iournal devoted to the iolins abound, all of them bearing Collector-Dealer musical carof, i Y violins around bearing Klotz Specimen Copy 35{!—$2.50 per year. most misused and mispronounced copies of the are many inferior 50 Chippewa Rd. Tuckahoe, N. Y. Klotz label. These instru- necessary terms, to labels, and a personal examination is and they are clarified (subject fcnerall about fifty dollars, .? Y- false. A written NEVER BEFORE Whetherr to determine the true from the NOW — AS correction) y°ur violin is genuine I cannot in the hope that musicians say. or not, on which an The violin responds to every requirement evidence ; description offers no 250 GENUINE VIOLIN LABEL FACSIMILES AND BRANDMARKS will and of the artist. recognize their correct usage, opinion can be based. of the most important Makers—each marked as to Nationality. _ Investigate today Color of Varnish, and Price Range. This newly published have a better understanding of some of RMommendH Teaching ACOUSTHEORIST booklet is the “one and only” of its kind, and is a mv*t Material \wWAm for Violinists. Healers, and Collectors. An authentic guide Lj ' Fancy Scrolls JIB 1391 6th Ave. N. Y. C. 19 the common words in music terminology- Kansas If Eugene Gruenberg’s Concerning , Ily to the identification and value of old violins. Price $2. “ElemV„+ violin has no tary Violin B.. California. As your SUBURBAN MUSIC STUDIOS Lessons*’ obtained good re- I. I. 643 Stuyvesant Ave. Irvington, suits fm about its N. J. m ^our there is nothing I can tell you JOHN HARKERT & CO. is PuP*Is in former years, there label, no rp is that during 141 WEST I5TH ST., NEW YORK II, N. Y. aS°n at a11 maker. All I can say why you *sh°uld not use it supposed again VIOLINS OLD 8s N v are part of the 17th century there were IW and familiar with its possibilities the early Expert Repairing. Send for Catalog The Violinist’s Forum vm , who put dragon or lion how to ada the many makers in Europe exercise* Pt and modify as (Continued from. Page 441) needs heads on their violins instead of the scroll Schools—Colleges Becausp u each individual pupil, a , of these makers were b°°k Was rinted we know it today. Some PATMOR (Tonepost) FIDDLERY, necessarn P last week does not some particular technical is of the ut- and their instruments have Violins at wholesale prices (many certified old problem b me n tilat is better than another good workmen Offers 150 °ok that^ «? violin ap- All fitted with PATMOR TONEPOST. Today’s SCHOOL k today. You should have your masters). OF most value to every instrumentalist. And s een in use for thirty years. Per- value world’s greatest musical sensation; now successfully ap- °nallv t iv? dealer. MUSIC Very praised by a reputable plied to all bowed, blowed, percussion, and plucked musical CONVERSE COLLEGE it can be cultivated. °f ® much the Violin Method Nichnia t instruments. Guaranteed refund. Call or write now. Edwin Gerschefski, Dean, Spartansburg, S. C. 0UreU3c ’ and is an Keep one thought uppermost in your °lcitimer rwv that certainly ^ er exceMent beginners’ methods are the “v THE CORNER RACK OF DISTINCTION Department of Music mind : Be careful not to strain your hand First KNOX Galesburg. Peerv Violin Book.” by Rob Roy Illinois v*- WM. S. HAYNES COMPANY Thomas W. Williams. Chairman while you are practicing extensions. At ang s Violin Course, Vio- adding a musical lin Methrv? ? and the for your what-nots, COLLEGE Catalogue sent upon request. the first feeling stop, ^amue l Appelbaum. The im- decorative scheme. Made Flutes of Distinction of pain or fatigue, portant th- . note to your inw§ —ls not soau CONSERVATORY and let your hand relax completely. If you ——— uiucnmuch whatwnai manmaterial is dimensions of a standard violin, to the STIRLING SILVER - GOLD - PLATINUM OF MUSIC made of high WadeE. Millar, Preaj are careful about this, your hand will re- 50TH 8” wide 23" high. Well SHENANDOAH YEAR or Wal- Coursps be grade material in Mahogany Catalog on request leading to main relaxed always, and you should 4 OF the B. Mus., anil B. Mus. Ed. degrees. PK ene^TK Postpaid in U.S.A. Rates t 5strc nut finish. $2.75 able to play tenths easily in three or four b7suSJ'”*i»i«klar professional er.:razcm#iitB 108 Avenue, Boston 15, Mass. reasonable. In the heart of the Shenandoah or " 11 W,0I„ »nd presented In pro- "W)lffVC showlne irArn Valley, Dayton, Virginia. months. - v ,Wlv»oo.l Talent Seoul. and alsL J*» ' Secy nM'.r s, ' M k Sprint? ceurse openlne. SHUBpi»5-an u BERT. 17BO.. BROADWAY. “ - 470 "MUSIC STUDY EXALTS LIFE" MUSIC STUDY EXALTS LIFE 471 THE ETUDE AUGUST 1947 " * :

that it ranked extent as one of the best in Europe. division There was a among the officers concerning the appointment of a new Cjetelnvin -MADE bandmaster. One party advocated EASY — a se- \j ADA RICHTER lection by the band committee and the other insisted on an open competitive Vol. 1 Four examination under a committee of pro- Vol. II albums containing the most Vol. 1 Vol. II fessional musicians not connected with CLAP YO’ HANDS’ BIDIN’ MY TIME outstanding melodies of two the regiment. The latter scheme was ONE ALONE DESERT SONG delishious EMBRACEABLE YOU famous American composers, adopted, and a special subcommittee of pre- RANGERS SONG DEEP IN MY HEART, DEAR | got rhythm FASCINATING RHYTHM officers was formed consisting of Colonel sented in unusual ROMANCE GOLDEN DAYS THE FLAME transcriptions, Sir Charles Nairne, Major SONG OF OF THEE 1 SING H. W. Hime geared SERENADE SOFTLY, AS IN A MORNING SUNRISE Captain E. C. Trollope, Mus. SOMEONE TO WATCH OVER ME OH, LADY BE to immediate keyboard Bac., all of GOOD SILVER MOON STUDENTS MARCH SONG whom were cultured musicians. WONDERFUL SOMEBODY accessibility Forty- •S LOVES ME by a leading exponent STOUTHEARTED MEN WANTING YOU four applications were received for the SWANEE SOON of piano pedagogy. GIVE ME A ROLL ON A DRUM WHEN HEARTS ARE YOUNG appointment, and four of these were THE MAN 1 LOVE STRIKE UP THE BAND LAND selected for examination at LOVER COME BACK TO ME YOUR LAND AND MY Kneller Hall Price 75c each volume net under the late Sir August Manns. MUSIC PUBLISHERS HOLDING HARMS I NC. • NEW WORLD MUSIC CORP. Rise to Great Fame CORPORATION RCA BLDG. • ROCKEFELLER CENTER • NEW YORK 20, N. Y. The successful candidate for the ap- pointment was Ladislao Zavertal. Zaver- Tchaikovsky’s Fourth Symphony. The Military Band tal was a naturalized British subject of band also paid visits to Germany, play- For Perfect Control of Rhythm Italian birth. While not a military man, MUSIC READINESS PROGRAM ing orchestral and military band con- 1 Piccolo 3 Alto Saxophones he without question brilliant was a musi- By Sister M. Xoverla, O.S.F., Mus.M. certs. In the City of Cologne 2 Flutes 2 Tenor Saxophones cian, a master of orchestration, and the news- a 2 paper critics said, "Never 2 Oboes Trumpets composer of high merit. He wrote three The MUSIC READINESS PROGRAM is before has a 1 English Horn 6 1st Cornets operas, “Tita,” "Una Notte a Firenze,” intended to build up musical concepts and military orchestra of such distinction 2 Eb Clarinets 2 2nd Cornets and “Mirra,” two symphonies, and several experiences necessary to comprehend the and refinement been heard in the Father- 8 Solo Clarinets 6 Horns land.” overtures apart from a large amount of many abstract ideas implied in the study 1 4 1st Clarinets 1 Baritone music in the lighter vein. of music, and to develop fundamental But perhaps the crowning event of the 8 2nd Clarinets 2 Euphoniums Some musical authorities claim that he playing and reading habits. This program band’s career was when it paid a visit 6 3rd Clarinets 4 Tenor Trombones was the most cultured musician that ever is designed to develop the following readi- to the great Le Havre (France) Music 1 Alto Clarinet 2 Bass Trombones entered the British service, but the nesses: Festival in 1925. It was here that the 1 Bass Clarinet 6 Basses general opinion regarding his choice was 1) Keyboard Readines: band created quite a furore by winning 3 Bassoons 2 String Basses that the officers desired special attention 2) Rhythm Readiness three first prizes, with Major Stretton 2 Soprano Saxo- 3 Percussion paid to their very fine orchestra, and being awarded at the same time, the 3) Playing Readiness phones Concert ar tists— teachers —students — all were strong in their demands for an gold for. the best conductor at the say the sensational FRANZ Electric 4) Singing Readiness medal orchestral conductor of eminence, and Metronome is a great improvement over Festival. It was indeed a great honor for brought to the 5) Visual Readiness In 1938, the band was any other Metronome — no winding — there is not the least doubt but that any military band, more especially as Canadian National Exhibition (Toronto) never runs down, no tubes to burn out. 6) Aural Readiness Clear, distinct clicks mark any tempo, Zavertal was just such a man. Under his 2 of Europe took some of the leading bands under the direction of Owen Geary. This from 40 to 208 beats per minute. Tochange care and training, the Royal Artillery 7) Reading Readiness BOB competition. There is not the tempo, all you do is adjust the pointer. In JONES part in the first that audi- was the time Canadian rich, handsome plastic cabinet 5" wide, orchestra rose to great fame never before 8) Muscular Readiness and Stretton a least doubt but what Major ences had been given an opportunity to 4" high, 3^" deep, sealed and dust proof. attained by any military orchestra. He Coordination worthily upheld the great reputation of hear a military orchestra, and it was Accuracy guaranteed. Built to last a lifetime. held by most was in the highest esteem of the British army. Order from your Mumxo Dealer or mail coupon today The the premier band rather amusing to see the expressions of of the Crowned Heads of Europe who MUSIC READINESS PROGRAM, UNIVERSITY its director with $13.25 110 volt 50 cycla adapted After thirty years as amazement on the faces of the people — frequently travelled to England to hear to various age levels, simplifies Only 50 than half a century as a military gathered in front of the band shell as »I2 $16.00 — 220 volt GO cycla both the teaching learning of more the and the year written The first unit of the the symphonic concerts performed by On 6 volt cycla modern plant on the beautiful musician, Major Stretton retired in 1937. the bandsmen changed from wind to l/uarantee. Oper- $16.75 — 220 50 music. It transforms the task of early mu- Royal Artillery Orchestra. He was con- ate a only on 110 new campus at Greenville, in the highest esteem by all string instruments, playing both as a volt, 60 cycle A. C. TRIAL South Carolina, will be sic teaching He was held 1 O -DAY stantly called command into pleasure for the teacher, ready for occupancy. upon to play of the Royal Family, and military band and orchestra on all pro- and affords happiness while the members Send No Money performances for Queen Victoria. to the child the officers of the regiment, and par- grams. Franz Mfg. Co., Inc., Dept.E-8/47 he is acquiring the skills for play- by After twenty-five necessary 53 Wallace St., New Haven 11, Conn. a brilliant career of musicians who served its it ing and reading ticularly by the During two weeks engagement, years’ service bandmaster, music. Send the FRANZ ELECTRIC METRONOME as an army was estimated that more than three hun- delivery, plus shipping a under him. —and I'll pay $12.50 on ,y\c directing the finest band in the British • charge. If, after 10 days’ trial, I am not com- \o 9> My Music Picture Book.... 60< Owen W. Cleary, a brilliant young army dred thousand people attended the band pletely satisfied, I may return it for refund. army, Zavertal retired in 1907. • My Music Color Book...... 65< bandmaster was appointed to succeed concerts. MOST UNUSUAL UNIVERSITY Za- Choosing great - a successor to the • still directs the In Woolwich, where the band is per- Name My Music Letter Book 60c Major Stretton and (Please Print Plainly) vertal presented a problem that can • My Music famous band. His sound musicianship manently stationed, the Sunday morning readily solved Note Book 75< Address will come young people from all over America and be understood, but it was exceptional executive ability church parades are a feature attraction • Music and $1.00 coupled with by the selection of Edward C. Stretton, Guide Book from countries round the world attracted by high a has brought rapid promotion to him for where one will see thousands of people City Zone State — Postage extra formerly director of the Royal Naval money order for $12 50, we pay academic standards, cultural opportunities, and the spir- he already held the rank of Major. turn out on a fine Sunday morning to If you enclose check or son shipping: charges, same 10 day return privilege applies. School of Music. Stretton was the Royal Artil- see and hear the band in all its glory. itual emphasis of an institution that stands without apol- The establishment of the of a Major in the Royal Artillery, and by Circular on request ogy for the “old-time religion" and the absolute lery Band includes: authority a strange coincidence, he had com- of the Bible. Published by THE SERAPHIC PRESS menced his musical in the band career 1501 So. Layton Blvd., Milwaukee 4. Wis. Director of Music Has Your Child of the Royal Artillery in 1886, at that Course in A the advantage of piano study with Voice, Piano, Violin, Pipe Organ, Speech, and Art without additional time his pred- Officers and cost above regular under the command of 85 Noncommissioned a member of the Academic Tuition. ecessor, Cavaliere Ladislao Zavertal. Musicians Orchestral Instruments Stretton’s appointment was received a band (treated so much enthusiasm, the NATIONAL GUILD 14 Boys t with great satisfaction for, as a matter music critics going so far as to say that of PIANO TEACHERS For information write or wire Dr. Bob Jones, Jr. the is Music Educators Inc. of fact, he was bom and raised in the band was the acme of perfection. The instrumentation for A goal of achievement for every student suitable regiment of Artillery. might also be The programs an It performed were of such to his age and advancement. BOB JONES UNIVERSITY ( Continued from Page 438) GREENVILLE, SOUTH Stret- (NOT A CONTEST) CAROLINA mentioned that his brother, Arthur outstanding feature at all times that it Orchestra was The Better Teachers ton, was also a brilliant musician, who hard to realize that such artistry remark that advanced student teachers Are Members 1 Bass Clarinet Chapters in every large music center for many of music and cultural a 15 1st Violins years was the director music was coming from can be procured for something less than FOR INFORMATION WRITE was formed, and the famous Kneller Hall The plays and concerts Music military 2 Bassoons of this society at England’s Cathedral of Military band. 15 2nd Violins can bona fide professional musicians A Famous Military Band was brought into existence. became IRL ALLISON, M. A. immensely popular, so much (Kneller Hall) first army The band so , and he was the was in Paris in 1919, at the 1 Contra Bassoon from the outside. If outside instructors FOUNDER AND PRESIDENT Here was a man who possessed 9 Violas a super- that the officers of the regiment rank of “me of ( Continued from Page 439) decided musician to retire with the high the signing of the Peace Treaty, must be engaged, perhaps the school Box 1113 AUSTIN, TEXAS abundance of initiative and executive to build their own and 4 Horns theater and playhouse Colonel. gave orchestral concerts at the 7 ’Cellos could charge a special fee for the course, ability apart from his great musical in Woolwich, and on February 22, 1864, The first occasion that the Royal Artil- ntish Embassy At Basses 3 Trumpets to fees charged by college upon the Duke of Cambridge, the Com- talents. He organized and the Trocadero. 9 comparable and conducted the its doors were opened shores le to the public. lery Band was allowed to leave the ' atter, all the and 2 Tenor Trom- departments for individual in- mander-in-Chief of the British Army, Royal Artillery Operatic and Choral prime ministers Piccolo music So- James Smyth retired in War general 1 1880, having of England was when the British officers of the Allies were present struction in practical music. Should this the necessity for improving the position ciety consisting of one hundred and fifty bones Authoritative knowledge is indeed a accomplished more than any ether band ud 2 Flutes of the army Office gave its permission for the at the conclusion of the concert, desirable perhaps the school army musicians if he (the Duke) members, many of whom were officers of bandmaster not be will precious thing, especially in the school ever attempted before to engagement in gnace 1 Bass Trombone desired them to attain the high or accept a six months’ Paderewski who was then prime 2 Oboes have to reconcile itself to the standard the regiment and their ladies; the entire since. He merely music field where so much of what is turned the Royal Artillery band New Zealand, band under mister set by service bands of Continental Eu- (1913). The of Poland, complimented Major Horn 1 Tuba cost to itself of a course membership was from the families of into a veritable 1 English higher such as taught is sometimes based on half knowl- conservatory of music the direction was given retton rope; with the result that a music school men serving in the of Mr. Stretton on the fine of the Percussion considering the course royal regiment. and developed the had performance 3 this, valuable edge, or worse still, on premises which orchestra to such an a tremendous ovation; never before rchestra, 4 Clarinets and said that he had never enough to justify the additional expense. are definitely incorrect. eard Harps 472 "MUSIC STUDY such an effective rendering of EXALTS LITE’’ THE ETUDE STUDY EXALTS LIFE" GUST "MUSIC 473 , 1947 ,

the waiters were instructed to serve him in no sense the personality of terrors for him. For instance, in the. brief glory of his lyric period. At their side but it was ‘Hviuynaws comiorts. of every off rou- double quantity order) . His fine, Like most basses, he was best When Battistini and Plancon duo in "" for Carmen and Es- stood "Jupiter” Planqon, tossing toreador. his father died he was in New as bearded head was set nobly on his broad both voice and temperament for York. camillo in the last act, there is an awk- lades, cadenzas, trills, and scales just fitted by He declined to renew his contract, Both off and on the just as accurately as his shoulders. stage he expression of the emotions of ma- though his vocal HERBERT ELWELL'S ( Continued from Page 435) ward transition from B to D-sharp, which brilliantly and the powers had not failed of the was perfectly costumed; to see him stroll- Consequently in such roles as him, he effected with perfect ease. famous colleagues. His record turity, and devoted himself to the care the sunny of Requiem Aeternam Drum Major’s Air from Thomas’s “Le ing leisurely down side of in Gounod’s “Philemon et Baucis” his mother. Too a release of air, absolutely under con- Jupiter much good food and wine voice is capable Broadway or through “Peacock Alley” in he made his New York debut) are said converted into vocal Flexibility a Requisite Caid” shows what a bass ,in which to have contributed to his early trol, all of which was a sight fully disciplined. Alas, the old Waldorf was for tired Capulet, Father Laurence, and death in his ff tone. There was never a touch of throati- A hundred years ago a secure and flu- of when it is Ramfis, sixtieth year. successors. Most of eyes; in such parts as .Capulet and Saint “Hamlet,” he was entirely Pol of emission. ent coloratura was an indispensable part Planqon has had no King in Planqon does not rank with the ness to mar the freedom his Huguenots”) the basses of today are content to plod Bris (“Les he was a truly for in them he had only to great creative It was all as easy as sighing. of the equipment of a leading opera the satisfactory, artists, Maurel and Chali- way, not seldom a magnificent figure, and no more elegant to sing with his habitual apine, well’’ is familiar singer. Tire Bellini for along their pedestrian himself and but judged merely as vocalist LINCOLN “Who says well, sings a music written by play a he Planqon was al- devil than he, ever led Dr. Faustus down style. There was almost adage in the world of song and Planqon Lablache and Tamburini shows that the little below true pitch. noble suavity of had no superior. One might say of him to perdition. John Gould Fletcher ways in tune. the road sense in him and he wisely left as it Poem by did it full honor. His articulation was as voices of even the basses were supposed to no comic was said of Battistini’s singing, “It his Planqon prepared his roles with infinite Don Basilio, clean cut, even in rapid passages, as an be thoroughly flexible. In my experience Planqon’s stage presence matched untried Leporello and in might be different, it could not be better.” Presented February 16, 1947 at have pains and intelligence, but he had no real Edouard de engraved wedding invitation. His vowels only Planqon among basses had a fully voice in size and dignity. He must which his contemporary, In the forty years that have elapsed The Oberlin Conservatory of Music, Oberlin, Ohio of impersonation, such as were absolutely definite in their utter- developed coloratura. In his day at the stood fully six feet in his stockings; his gift illustrated Reszke, and, later, Chaliapine, were richly since he left us no bass singer of any na- the careers of Lablache, Maurel, ance. (Maggie Teyte, in our day, is ex- Metropolitan "La Sonnambula” was re- weight well over two hundred pounds, and successful. tionality has appeared in the least com- slender Renaud and, in later days, Chaliapine. If emplary in the utterance of her vowels.) vived for Sembrich, Caruso and him. although he was said to have been Planqon’s two most effective roles were, parable with him. There still survive pho- a role suited Planqon’s own personality, Planqon’s solid breath support, free throat, Sembrich was mistress of her part, as a in his youth. His appetite for good food perhaps Saint Bris and Mephisto. As the nographic records that, although they WAS A TRIUMPHANT SUCCESS! diction enabled him to sing still extant phonographic record of her and good wine was stupendous (at the all was well; if not, it was a failure. He gentleman both his action were and perfect aging Catholic made in the primitive days of pho- All serious choral organizations are invited essayed the role of Escamillo and sang with a fidelity to pitch that heavy voices "Ah, non giunge’’ amply testifies; master Gilsey House, the last of the Broadway singing were vivid and pictur- nography, give a clear of and his idea the per- to send for a copy of the vocal score on approval. intervals full Hotels to operate on the “American plan” it better than I have ever heard it sung, seldom achieve. Unusual had no of his, too, was Caruso, then in the esque. Especially in the conspiracy scene fection of Planqon’s art. Would that some he seemed to emerge from his own per- of our young singers whom nature has sonality and to enter heartily into that dowered with good natural voices, would m MSGSEI — of tire pitiless religious zealot. (Would that study these records and learn from them Wk. f “Les Huguenots” could be restored to the at least something of the art of bel canto RECENT ADDITIONS TO THE B.M.I. CHORAL CATALOG repertory—a real grand opera, full of dra- for the bass voice. otherwise quoted ft and eloquent music.) 15^ each unless f matic moments, m, %+cceei>$ Vi CCC&S The role of Mephisto may well have MIXED VOICES (SATB) been his favorite for he performed it with Questions and Answers 173 O Lord, Redeemer Sullivan/Striclding immense spirit and gusto. For once, he 174 Psalm Of The Harvest (Psalm 104) (Anthem) (20*) Gessler ( Continued 442) exhibited a comic sense and played the , from Page Angelicus (with Violin Obbligato) (20*) Franck/Strickling comedy scenes with enlivening humor. I 175 Panis 299;’’ “Twenty-four Studies for the Left Walton doubt that even the great bass-baritone, 176 Ave Verum (Motet) TRAINED Hand, Op. 718.” Why MUSICIANS Gessler Jean Faure, for whom Gounod had writ- 178 O Let The Nations Be Glad (Psalm 67) (20*) Grades 4 & 5: “The School of Legato ten the role, surpassed Planqon’s per- 179. Christmas Legend Mirelle and Staccato, Op. 335.” formance. 180 Long Years Ago (Christmas) (12*) Garabrant Command a Better Income Grade 5: "Daily Exercises, Op. 337;” Inasmuch as all Planqon’s early train- 181 Oh, Promise Me De Koven/Cain "Exercises in Octaves, Op. 553;” “One ing and experience had been French, it Cowell Hundred and Sixty Eight-Measure Ex- 184 To America (A cappella) is not to be wondered at that he was most ercises, Op. 821.” Four Czech Folk Songs by Schimmerling-McKinley successful in the operas of Meyerbeer, Grades 5 & 6: "The Art of Finger Dex- 191 Sadia Muska Gounod and Thomas, but his large rep- 740.” terity, Op. 192 Koupim Ja Si Kone Vrany (20*) University Extension Conservatory ertory included several roles in Italian Although I still think Czerny is fine for and at least one in German (the Land- 193 Ja Som Baca Velmi Stary advanced technical study, it is the opin- 1903 - THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC - 1947 grave in "Tannh&user”). His Ramfis was 194 Pod Tym Nasim Okieneckom ion of many piano teachers that there is fine. Sarastro in “The Magic Flute” was a Is Day of Light (Anthem) Weigl MEMBER OF now material available which is both 196 This the bit too low for his voice, but his render- Holst pedagogically better and musically much 199 We Believe, We All Believe (Old Danish Hymn) ing of the two famous arias was the best Norden Extension Courses by noted teachers, leading No entrance requirements except for Degree more interesting for students in at least 200 Lift Up Your Heads (Anthem from Psalm 24) I have ever heard. the first two grades. 201 The Shepherds (With Soprano Solo) Cornelius/Norden to Diplomas, and Degree of Bachelor of Music. Courses. Credits earned by using your spare The last fifteen years of his singing 202 Once On A Time Christ Came to Us Here (A cappella with Sop. Solo) career he spent mostly in England and time for advancement. Cornelius/Norden You can prepare yourself for a better position the United States, but he never achieved Occasions) Hall more than a bowing acquaintance with The Tyranny of the 203 Gloria (For Festal by studying at your convenience by the Ex- Catalog and illustrated (Fun Song) Strickling lessons sent without our language. An heroic attempt to sing 204 We All Have Colds (20*) tension 205 Summer Harvey/Peele Method. obligation* to you. Check coupon below. The Lost Chord one Sunday night at the Bar Line (20*) 206 Hosea (Anthem) (20*) Floyd Metropolitan verged on the ludicrous and 440) ( Continued from Page was, I believe, never repeated. WOMEN'S VOICES (SSA) He lines in relation to A DISTINGUISHED FACULTY OF ARTIST TEACHERS — HIGHEST STANDARDS was a prime favorite with the Sun- iteresting use of bar . Lubin OF MUSIC INSTRUCTION chants 1 77 April day evening audiences, which never tired lelodic, not metrical accent. The WHAT PROGRESS ARE YOU EQUIP YOURSELF staff in H 82 Oh, Promise Me De Koven/Cain MAKING? FOR A BETTER POSITION of Les Rameaux ( Palms) and Les written on a four-lined This is Your Opportunity—Mail the Coupon Today! The re still deux Cru- Neumes indicate the 189 Jubilate Deo (SSAA) Sister M. Elaine A proof of quality is important for one inter- Grenadiers and Gounod’s Le eume notation. Your musical knowledge your position and in- degree their — ested cifix, this last preferably with Emma of notes, and in some 190 Where Willows Bend (20*) Elliott in further musical training. Our courses offer UNIVERSITY EXTENSION CONSERVATORY, Dept. itch come today are the result of the training A-588 relates also — you 765 Eames. In Les deux Grenadiers he duration. But the latter 195 Shepherdess Moon Weigl you the same high quality of preparation which Oakwood Blvd., Chicago, Illinois. ime have given your natural ability. Plain song is often Additional train- added climax accent. .. has developed and Please send me catalog, greatly to the thrill of the o verbal 197 Al Nino Jesus (The Holy Child) Spanish Christmas Carol. Sister M. Elaine trained many successful musi- sample lessons and full information notes ing will open up new fields, new opportunities, by means ges- in style, however, with many cians and regarding course I have marked with an below. of a sweeping, full-arm lorid 198 La Noche Esta Serena (Serene Night) Traditional Spanish Melody (SSAA) teachers in the past. X so that greater ture. He in salon, single word or syllable, income and higher standing in the musi- Cl Piano, Teacher’s Normal was equally happy a o a Sister M. Elaine Course Voice by breath con- NATIONAL HOME STUDY COUNCIL adapting his voice limitations of ihrasing is limited partly cal world. Piano, to the MEN'S VOICES (TTBB) Student's Course of different lengths The Council is an Association of which we are Choral Conducting the space. The perfection of his diction rol Thin bar lines a De Koven/Cain Public School Mus.—Beginner's and having values corresponding to 183 Oh, Promise Me This valuable training, through our Extension member. It includes the outstanding correspond- Clarinet the elegance of his person added re used, Public School Mus. semicolon or colon and the ence schools in the United States with D —Advanced Dance much to his charm in this kind of singing. he period, Brahms, 120 Courses, may be taken at home with no interfer- headquar- Band Arranging points, FOUR SERIOUS SONGS by Johannes OP As a They indicate breathing ters at Washington, D. C. Members are Advanced Composition private personality he was not in- omma. N. Lindsay ence with your regular work just by devoting to admitted Violin worth a short, Arranged by Norden teresting. appeared nd the comma itself is only after rigid examination of the training Ear Training & Sight Singing Outside of his art he self-study the many minutes each day that ordi- courses Guitar 185 As With Beasts 25* to have no intellectual concern. His in- uick breath. offered. History of Music met- narily go to waste. The Mandolin music influenced 186 So I Returned 20* progressive musician, as ability to speak English he attributed Probably 'dance Harmony lines more than 87* busy as he We are the only school giving and bar 1 Oh Death 20* may be, realizes the value of such instruction in Saxophone blandly to his stupidity ("I am too ical measures own beats are es- study music by the Home-Study Method, Comet—Trumpet stupeed!”) for here accented 188 Though I Speak With The Tongues of Men 25* and finds the time for it. Well paid positions which includes Reed Organ He was frankly self-centered, nything, Lully, court mu- in its curriculum all the courses Advanced seeming Jean Baptiste are available to those who are ready tor them. necessary to ob- Cornet Banjo neither to seek nor need com- ential. XIV of France, used to Reference Copies of Any of the Above Choruses free on Request tain the Degree of Bachelor of Music. Name panionship. His manners were affable, so ician to Louis Age the floor with his Dealer Can Also Supply the Above that he ,eat time by thumping Your YOU can do it too! It's up to though he made few friends, YOU! A Diploma Is Your Key to Success! Street No he hit his foot instead, wade no enemies. that singers ane One day, He held died of it. Ci poisoning set in and he ‘y State Deeded little physical activity beyond the flood warning for us all not to exercise of his ath- rhere is in this a Are you teaching their art and limited When now? If so, how many have accent too seriously! University Extension pupils letic pursuits on ake metrical Conservatory you? to a majestic stroll metrical ac- MUSIC, INC. D° you hold conflicts with BROADCAST a Teacher's Certificate? accent 76 5 Broadway in perfect apparel when the nelodic OAKWOOD BLVD. (DEPT. A-5 8 8) 15. Have you studied line becomes a little CHICAGO ILL. Harmony? Would you like to earn weather ent the useful bar 580 FIFTH AVENUE NEW YORK 19. N. Y. was just right. with accord- the Degree of Bachelor of and must be dealt Music?. He was a devoted son and provided his vrant Parents with a commodious apartment in 'MUSIC STUDY EXALTS LIFE” THE ETUDE EXALTS LIFE” 475 AUGUST, J947 — —

Peter’s Plan Junior Etude Contest

rjCet SiiiMlon lu Etude will award three at- you enter The Junior on upper left corner of your each month for the neatest paper, tractive prizes and put your address on upper stories or essays and for answers right corner of your paper. neatness does not count and best It was Peter’s turn to provide the “No, this Contest is open to all boys and to puzzles. Write on one side of time. Just speed. As soon as I strike paper only. Do game for the next meeting of the under eighteen years of age. not use Bgirls typewriters and do not have any- Music Club, and it was a rule that A on the piano we’re off,” said Peter. fifteen to eighteen years of Class A, one copy your work for •you. have something to Soon all heads were bent and pen- B, twelve to fifteen; Class C, the game must age; Class Essay must contain not over one hun- course. cils were scratching on music paper. twelve years. dred do with music, of under and fifty words and must be re- told “This is going to help my reading of prize winners will appear on ceived “I can’t think of a thing,” he a Names at the Junior Etude Office, 1712 future issue of The Etude. his sister, Polly. lot,” someone whispered audibly. this page in a Chestnut Street, Philadelphia (1) , Pa., by next best contributors will re- the “What about the one called ‘Who “Mine toe,” someone answered. The thirty 22nd of May. No essay contest this honorable mention. month. See Am I?’ ” she asked. In twenty minutes Peter struck the ceive special contest on previous your name, age and class in which page. ELIZABETH A.GEST “We’ve done that too often. And A again for the end of the game. “Oh, Put we’ve done ‘Twenty Questions’.” Pete, give us five minutes more. I “What about Musical Anagrams?” see lots more words,” said Dick. five Results of May Dazzle ( ontest ( suggested Polly, still trying to be “Who wants more minutes?” Answers to Quiz ) helpful. “Anyway, that’s your prob- asked Peter. “Raise your hands.” there was a slight misprint in the Missing Word Game Yes, 1, Fidelio; 2, Cuba; 3, composer; lem,” she continued. “I have to at- “Make it ten,” said Alice. puzzle, but everybody seemed to May 4, Boston; 5, Spain; 6, By St. Francis granted and sent in correct tend to getting the lemonade and “Five minutes is voted,” said Peter. take it for of Assisi bij. Cjertrude Cjreenla ((jh lAJalle in Italy (1182-1226); 7, “I’ll strike the A again.” answers. It was decided to give two cookies.” Clarinet, English horn, French horn, for class B this time, calling a tie “Tell you what. We’ll do Musical Soon Peter was giving out the prizes trumpet; Hungarian; (Fill in the blanks with musical terms) to the stream. “We'll let down the very attractive sheets, dec- 8, 9, a cradle- Anagrams, only a different way, be- prizes, explaining as he did so, “This between two song; in Italy. The of (11) so we can take a short orated with pen and ink sketches. 10, members the Students cause we’ve done that before,- too,” game shows how music contains let- Junior cut,” said Bruce. On reaching the Club were going to spend said Peter, smiling at his own bril- ters and words. These are arranged Saturday afternoon stream he skipped a (12) stone at the home of liant idea. into phrases, something like a story Answers to May Dazzle the president, across the water. Taking some Bruce Black, in the “All Polly, “I’ll right,” said help book.” Violin, harp, horn, flute, bassoon, viola, country. On their way out, one of (13) out of his pocket, he un- you to the extent of getting the box “That’s right,” agreed Tom. “Mu- drum, piano. the cars had a (1) tire, but locked the rowboats and the picnickers \| of letters that is up in the attic.” sic really can tell stories to us when pushed off from shore. Soon the sun’s they arrived on (2) . Everyone we learn to know the meaning of the Prize Winners for May Puzzle: enjoyed the — (3) scenery and rays began to (14) and Bruce / \ notes give, as TftfWAAE'R.E I sounds the just we Class A, Peggy Hoover (Age 17). Vir- the fresh country (4). Bruce gave the (15) to come in. As T>e learn to the of must know meaning ginia. all replies to letters IN CARE OF / \ received his visitors and soon had they were going home they all Send the letters and words in a book.” Class B, Mary Ann Bondzlnski (Age TI1E JUNIOR ETUDE Paul them in (5) for a potato race, thanked their host for a lovely day, 13) Illinois, and Curtiss N. Darmour (Age UNIVERSITY “Sure,” said Peter, “and if we can , / \ and how they did (6). and Bruce invited them back for Then To VVOR.V.D 14) Connecticut. Dear Junior Etude: 1 CHICAGO read them easily and play what we , _ a m ;• they played horse shoes. “We will a (16) visit. Recently I managed to obtain a copy of the without to Class C, Kikuko Kawasaki (Age 11), \ read having stop and Junior Etude and I thought it was wonderful THE SCHOOL OF have to (7) off a few feet California. CONSERVATORY Answers to Missing Word Wa stumble we can play lots of pieces and wish we could get The Etude regularly for girl’s 1*--°-- 9 the handicap” said Bruce. over here. I am a very keen pianist and hope OF MUSIC \ Game right off, the first time we see them, com- “Who wants to (8) first?” It to go "varsity” next year. I hope to Music Flat; 1, 2, time; 3, natural; 4, air; 5, just as we can read a story in a book pete for the Overseas Scholarship. 1 also hold Established 1867 was a (9) contest and came “Thanks, Sis, but I will not need \ line; 6, rim; measure; singing and violin certificates. 7, 8, pitch; 9, the first time we open it.” Offers accredited courses in Piano, out a (10) between the boys the box of letters. They’re all right, Unfortunately music does not hold a very Oldest Independent sharp; 10, tie; 11, bars; 12, flat; 13, America's “That’s what I’m working for,” Africa but we are \ Voice, Violin, Organ, Public School and the girls. Then they went but you don’t see the staff important place in South / School Devoted Exclusively to down keys; 14, diminish; 15, sign; 16, repeat. when you have someone whispered audibly. passing through a period of revival. We Music and Allied Arts Music, Theory, and Orchestral In- use them. It’s better to take a sheet no band at school but I have been lucky “So am I,” someone answered. Municipal \ struments. of music and work right from the enough to be solo pianist with our A complete school of Music, Orchestra and have broadcast a number of staff. That will help your reading a Confers degrees of B.M., A.B., times: and last month I received a cup for \ Dramatic Art and Dancing. \ lot.” my program. and M.M. Quiz No. 23 Look Ahead from some one about Courses lead to degrees. “I believe you’ve got something I would love to hear \ Distinguished Faculty by Lillie M. Jordan is interested in music. there, Pete.” my age who Review From your friend, Registration: So, When Tommy drove, his father said. Jean Miller (Age 14), / \ each member was asked to September S, 6 Address Registrar for Bulletin 1. What- is the name of Beethoven’s trian? “Keep your eye on the road ahead.” South Africa (November, 1946) bring a certain music book and a Classes Begin: September 8 DePAUL UNIVERSITY only opera? (Quiz, April, 1946) 9. Is i \ a berceuse a French folk-dance, page was selected for work. One or When Tommy played, his teacher said, See Letter Belou’ :ar Junior Etude: music study has been done Students May Enter at SCHOOL OF MUSIC 2. From what country does the a part of an two “Keep your eye on the note ahead.” As much of my Special opera or a cradle members who did not have the see The Etude has Dear thout a teacher you can / Any Time. \ Room 401, 64 East Lake Street rumba come? (August, 1946) song? (February, book Junior Etude: articles and 1947) looked on with some one who And Tommy found he must obey iped me greatly. I study all the 3. Was Verdi a pianist, composer, I started taking lessons when 1 was the fifth grade. My musical Write for catalog Chicago, Illinois 10. Was the first piano made in Ger- did. If he would learn to drive or play. mo music up to how church and com- / \ violinist or conductor? (October, five and have four years and tivities are playing for many, Italy, Austria or England? “In this Musical Anagram taken hear from Highland Ave. Ni 4 Game,” mity gatherings. I would like to 2650 1946) last fall I gave recital all by my- (April, 1947) Pete explained, “the letters cannot be a / Cincinnati 19, Ohio \ self. I am sending and scrambled on the table, but you will Special Contest you a program ( Answers on next page) find also a picture of me at my piano. them scattered over the page. The Junior Etude has never had a AMERICAN CONSERVATORY The From your friend, player who uses these letters kodak picture contest, but now is the Tree Top Choir and spells the greatest Linda Dunlop (Age 9), OF MUSIC—CHICAGO number of time to get out your kodaks, if you Offers courses in all branches of music and dramatic art by Martha V. Birnle words in twenty minutes is the win- have one Many Texas or can borrow one. 61st year. Faculty of 135 artist teachers ner. Next best gets of second prize.” Juniors do have kodaks and take Dear Junior Etude: Member National Association of Schools of Music There’s a beautiful choir in the for a free catalog—Address: John R. Hattstaedt, President, 580 Kimball Building, Chicago “Twenty minutes is a long time. them on their vacations in the sum- * P'ay between third and fourth grade music Send cottonwood on the tree We’ll get a good long piano and also play the bell-lyra, or list,” said Nan. mer. The pictures can be any size, xylophone 4. What city in America is said to It is made of the mockingbird song; in our school band. The Junior “Oh, I forgot to say,” wide has have the first continued but must, of course, relate in some done much toward giving me a bet- church organ? We hear joyous rehearsals the er whole Peter, “the words must idea of music and the composers. (September, 1946) ‘be written way to music; for instance, pictures CHICAGO MUSICAL COLLEGE summer day down in notation, Sally Anne Howard (Age 12), putting the F. 5. In what country letter of music groups, Junior Music Clubs, From Founded 1867 by Dr. Ziegfeld , President is the scene of Of bird anthems and hymns, loud names your friend, under the notes. You may use Junior in- Michigan CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. Bizet’s opera, “Carmen,” laid? long. Choirs, pupils with their and either or both Member of North Central Association and National Association of Schools of Music (June, clefs.” struments, school bands, or even just 1946) “Wheel” ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS exclaimed Tom. “I see pictures can 6. When and by whom are Christ- Then, of instruments. You Honorable Mention for Puzzle: Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois on each Sunday morning where the twenty May minutes will go.” think of lots you may mas carols said to have first been before we awake, of subjects and Span Anderson, “I can’t write notation very Iris Bala. Lydia Dart. Richard fast send if you rn - used? (December, 1946) A glad song service more than one picture, Hattie Davis. Bob Duval, Louise Elinor swells to the I’ll never win,” f° on said Alberta. ’ Mary Eileen Grant, 7. Name four transposing instru- wish. Perhaps you have a good one j Fogarty. Loral Mae sky “Oh, Elsie sure you can. You don’t have you See Haselton. Loline Hathaway. Joyce ^£>hp QlgbplaniJnstitutF of(Dastr ments in a symphony orchestra As the mockingbird took some time previously. r Claire shouts aloud to Hiley , Arline Holford. be neat this Kn « 'r, (January, time, you know!” regular page, 1947) from the tree, contest rules on next foggy Lane, Dolores Lewis. Sally Lieu- Bachelor of Music Degree, Master of Music Degree, Artist Diploma “Well, that’s one •fames 8. good thing. Peter, Martens. Pat McCall, Shirley Mc- Was Liszt a Bohemian, Czecho- Happy praise but put your name, age, and address Ca ii to the Father on dont Anne Prey. Joy Reed. Carol BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., we have to be neat this 15 ” Scwf.'ey Cleveland, O' slovakian, Hungarian or Aus- time on the back of each picture you sub- MichaeI Turner. High! asked Tucker. Freddie Charter Member of the National Alberta. Carol bchrenk,o' Mary Association of Schools of Music mit. ^una-™, Mary Elizabeth Whitney. 476 Zuerner. THE ETUDE 477 AUGUST, 1947 — — — — —

OF PETER THE PIANO ADVANCE THE ADVENTURES OF PUBLICATION OFFERS Story for Children, by Dor- WITHDRAWN— . illustrated In ample time for use ATLANTIC CITY, NEW JERSEY TWENTY TEACHABLE TUNES, for Piano , by dur- THE COVER FOR THIS MONTH—In behalf Byerly—Here is a charming book ing the approaching teaching Opal Louise Hayes—Designed as supple- J. season the Student residence of Mihich School of Its thousands readers The Etude but it will be partic- Publishers of of material for the first grade piano fo/any youngster, present three of the books mentary Violin, Cello; Paint- pays tribute to a great American opera in homes where there is which for several Music. Piano, Voice, pupil, this book opens with very easy mel- ularly welcome months past have been singer who at 76 years of age died of a music and parents wish to announced Ceramics; also facilities for odies divided between the hands, after love for and described in these “notes.” ing and heart ailment at her home in Winter toward a real interest in As is which the range of difficulty increases uide a child customary when these books are academic courses. Summer course July Park, Florida, on May 6, 1947. Louise juvenile love of personalizing published, copies immediately slowly to grade one and one-half. Only music. The are sent to and August. Ages 14 years up. Super- Homer, for nearly a score of years, was and in this fanciful advance easy major keys are used, and texts are is well known, subscribers and the special prices NOTES things recreation. Excellent cuisine. Fall the leading contralto of the Metropolitan PUBLISHER’S illustrated in colors, the at which they vised provided for some of the studies, to help tale liberally were offered are with- Opera Co. Before her marriage she was adventures of a piano drawn. term September 15th. Write for descrip- the pupil with rhythm. Interesting titles child follows the The following books, reasonably Louise Dilworth Beatty. She was born in A Monthly to be and engaging illustrations will catch the named Peter. This is not confused priced, may be obtained from your local tive booklet. Sewickley, Pa., suburb of Pittsburgh, on book supplying music dealer, or fancy of the child and create in him a with any type of from the Publishers for exam- Mrs. Wm. Henne, 3001 Pacific Avenue April 28, 1871. Her father was a Presby- desire to play the pieces. Miss Hayes, an young pianists. It is a charming book ination. terian clergyman. As the young lady’s for of piano beginners, ones to read or have read to Eludes for Every Pianist and MUSIC MADE EASY—/! Work Book by Mara expert teacher is for little HOW To Study singing talents manifested themselves, Them, a cleverly known to Etude readers through her at- them, the story to be such as to hold their Selected, Edited and Revised by she studied first in Philadelphia under ig.ust, 1 Ville—Teachers will find this 94 7 tractive piano numbers which have ap- The illustrations are of a char- Guy Maier presents eighteen of the studies - Miss Abbie Whinnery and a Miss Groff. entertaining and educational adjunct to interests. PIANO EXCELLENCE DILLER- QUAILE peared in this magazine. certain to delight, as they make which appeared from time to time sev- Later in Boston she studied with William any first beginner’s book with children in acter One copy of the attractive book may be adventures more realistic for the eral years ago in the music section of PRIZES School of Music L. Whitney and there also studied theory the age realm of nine to twelve. The au- Peter’s ordered now at the special Advance of revel in these imaginary experi- The Etude, each accompanied by an orig- with Sidney Homer. She had only been ADVANCE OF PUBLICATION thor particularly had in mind its suitabil- child’s To Students and Teachers: En- Publication Cash Price, 25 cents, post- inal “Technic of the Month” article. a student in Boston around a year when ity for supplementing or following Robert ences. A paid. last month that this will These cover technical problems met in the rollments now being made tor fall she became Mrs. Sidney Homer. Then Nolan Kerr’s All in One, but it has such This is the GUILD DIPLOMA WINNERS in advance of publication. A intermediate and early advanced grades. followed some study abroad. In Paris, OFFERS useful material as to be acceptable to be be offered term. Write for catalogue describ- may be ordered at the special Price, 75 cents. in the London, and other cities abroad she was used in practically any method used in single copy General Musi- Ella ing Normal and private instruction for piano pu- price, 50 cents, postpaid. Ketterer’s Book of Piano Pieces Contains acclaimed in concert and operatic ap- All of the books in this list are in class or CHAPEL ECHOES—An Album of Sacred and 194B of this celebrated cianship Courses. pearances, engagement preparation publication. The pils. There are attractive illustrations, Meditative Music for Pianists young and Old, many teacher-com- and after an at for NATIONAL PIANO-PLAYING AUDITIONS Covent Garden, London, she was engaged low Advance Offer Cash Prices ap- poetical texts, and sufficient writing space Compiled and Arranged by Rob Roy Perry TIIE CHILD TSCHAIKOWSKY, Cliildhnod poser’s favorite piano pieces in grades 66 East 80th Street in 1900 by the Metropolitan Co. ply only to orders placed NOW. to carry through the main purpose of the While most churches have organs Days of Famous Composers, by l*otlit' Ells- two-and-a-half and three, selections in (Made available through the cooperation of Business Opera — for Members of the National Guild of Piano Teachers.) Delivery postpaid will be made variety Patron, N. Y. for her handling ( ) book, which through varied means sup- for worth Coit and Ruth Hampton The an- a of rhythmic patterns and tempi the New York 21. She became famous of choir accompaniments and the instru- 1. ARTIST DIPLOMA WINNERS—to Each of when the books are published. OUTSTANDING, (a) A 5250.00 Cash plies the pupil fundamentals note of this book's forthcoming that have enjoyed much popularity pub- FIVE MOST and roles in Aida, The Huguenots, Samson with on mental music that helps to make many nouncement and (b) Round-Trip Fare to New \ork City, Paragraphs describing each pub- Prize, ‘nternational (c) An audition Before an Artist-Judge of and Delilah, Ball, values, music symbols, time signatures, publication has been enthusiastically re- lished in sheet music form. An excep- OUTSTANDING, The Masked and in the lication appear on these pages. services so effective, quite a few must repute, and to the ONE Chosen as MOST Prize, and (e) A Debut Appear- tionally attractive cover familiar (d) Another $250 Cash Wagnerian operas. After retiring from scales, rhythm, accent, ties, slurs, and depend upon pianos, and as comparatively ceived by those who previously became showing ance in New York. the Metropolitan, sang tetrachords. This book may be ordered with the earlier books in this figures and scenes from the original title 2 COLLEGIATE DIPLOMA WINNERS—to Each of the Madame Homer few homes have organs, books of piano acquainted OUTSTANDING from Coast to Coast a Cash BALOWIN-WALLACE The Adventures of Peter the Piano—An TEN MOST for three seasons with the Chicago Opera at the special Advance of Publication music, such as this, always have series on Bach. Beethoven, Chopin, Han- page designs is a feature that will appeal Prize of SIOO.OO. Illustrated Story for Children been of CONSERVATORY OF MUSIC 3. HIGH SCHOOL DIPLOMA WINNERS—to Each Dorothea J. Byerly .50 pupils. Price, 75 cents. Coast a and made guest appearances with other Cash Price, 25 cents, postpaid. popular with the thousands who enjoy del, Haydn and Mozart. Probably this is to teachers and the 20 MOST OUTSTANDING from Coast to BEREA, OHIO (suburb of Cleveland) Pianos, Cash Prize of $50.00. companies, including some with the Met- Basic Studies for the Instruments of the music has Fantasy in F-sharp Minor, for TWO Affiliated with a first class Liberal Arts College, playing and listening to music inspired by partly because Tschaikowsky's RULES GOVERNING ENTRY Rohner four and live year courses leading to degrees. Faculty Orchestra Traugott Hands, Ralph Fedcrcr is a new a High ropolitan in 1927 and 1929. With Mr. SELECTED SECOND GRADE STUDIES FOR sacred texts. well to the general pub- Four by 1. SUPERIOR RATING from the Judge as for catalogue or Informa- Books, each .25 become so known A in the of Artist Teachers. Send Student's School, Collegiate, <>r Artist Diploma Winner promises Auditions shall be re- tion to: Homer she celebrated her golden wedding Conductor's Score .60 PIANO, Compiled by David Lawton—This The Kohlmann books of transcriptions lic through the radio, the films and rec- American concert number that 1948 National Piano Playing quired of each entrant. ALBERT RIEMENSCHNEIDER. Dean, Berea, Ohio anniversary in 1945. She is survived by new book offers an attractive selection of to have the same wide appeal to duo- 12-Inch Chapel Echoes—An Album of Sacred and of hymn tunes are favorites with pianists ords. This book will be published in ex- 2. Submission for judging of One or Two Phonograph Records of the Entrant’s playing of from her famous composer Meditative Music for Pianists Young and supplementary pianists its predecessor Rhapsody least husband, her one material by the same of some ability, as are also collections actly the same style as its predecessors, as had 2 to 4 compositions of contrasting style, at one Old Peery .40 an American Composer. Choice of son, and daughters. strictly concert or of which must be by four Another daugh- group of experts whose work was featured such as Chapel Musings, by this author, and in the fascinating story of this mas- in D Minor. This is a numbers left to Entrant. address MILLIK1N CONSERVATORY OF MUSIC ter pre-deceased her, The Child Tschaikowsky—Childhood Days of pianists, but 3. EACH RECORD shall bear the name and dying in October, in Mr. Lawton’s Selected First Grade Sunday Piano Music, Evening Moods and ter’s will interspersed about a recital number for proficient his teacher. Famous Composers boyhood be of the Entrant, and the name and address of 1946. Studies. is melodic invention, so DECATUR, ILLINOIS Lottie Ellsworth Coit and Ruth Bampton .20 Each number unusually val- others. Ada Richter’s very easy-to-play half dozen of his immortal melodies in it is so fresh in 4. An ENTRY FEE of Records of Each Entrant, ah uable both technically and musically, thematic development, so the Guild and in Offers thoro training in music. Courses leading to King Midas—Cantata for Two-Part—Treble and My Own Hymn Book has a fascination easy-to-play arrangements. In advance attractive in property of Entrant. Bachelor of Music Degree. Diploma and Certifi- Voices Thaxter-Strong .35 is written in an easy key. Careful editing brilliant in thrilling bravura passages sent for the young folk. Here is an album the of publication a single copy of The Child 5. THE RECORDS OF EACH ENTRANT shall be cate in Piano, Voice, Violin, Organ, Public School THE LAST MONTH by parcel post (prepaid) to GRACE M HITE. 527 West OF VACATION—So .75 as to fingering and phrasing will want to assign it Music Methods and Music Kindergarten Methods Mendelssohn's Organ Works Kraft adds greatly arrangements in which will be between Tschaikowsky may be ordered at the that many teachers 121st Street. New York, New York, by NOVEMBER many things come to an end, but the FIRST, 1948. More Themes from the Great Concertos to the merit of the work. Legato and stac- their advanced students. Price, $1.25. Bulletin sent fret upon request , the first mentioned group and the ju- special cash price. 20 cents, postpaid. The to WINNERS shall be announced by thinking observer well 6. ALL P-E-P is aware that the For Piano Henry Levine .40 cato .passages are emphasized in The December First. 1948. in the Musical Courier and W. ST. CLARE, MINTURN, Director venile collection. It wall present in piano previously published books on the above- in the 1949 Guild Yearbook. majority of endings mean a beginning of published Music Made Easy—A Work Book Tambourine Dance, while repeated notes PIANO-EXCELLENCE-PRIZES shall be awarded arrangements of about grade two-and-a- mentioned composers are priced at 35 7. December something else. When vacations end for Mara Ville .25 the Winners as special Christmas presents by are prominent in Tiny Rubber Ball. De- half devotional choruses 24th, 1948, except the Grand Prize for the Most Out- music from the cents each. Winner, which will be presented those active in music, it means the be- Selected Second Grade Studies for Piano standing Artist scriptive are the cross-hand w'ork in Fairy publicly at the Debut Concert in New York City. David Lawton .25 and sacred songs of Bach, Bortniansky, ginning of a new season of musical op- Bells and the OSMOPOLITAN arpeggios in The Magic Franck, Gaul, Maunder, Mendelssohn, MENDELSSOHN’S ORGAN WORKS, Edited NATIONAL GUILD OF PIANO TEACHERS portunities. It will pay to be ready for Sousa's Famous Marches—Arranged for OUTSTANDING SCHOOL OF Piano Solo Levine Stream. A brilliant little piece with at- MUSIC Henry .70 and others, as well as seasonal numbers and Revised Edwin Arthur Kraft Con- Austin, Texas those opportunities; and many of the suc- by — BOX 1113 CLARENCE EIDAM. President tractive scale passages is Twenty Teachable Tunes— For piano The Witch Rides such as O Holy Night and The Palms. temporary are fa- R0SSETTER COLE. Dean cessful teachers and other active music American organists Opal Louise Hayes .25 Her Broomstick. Syncopation distin- 43rd year. Accredited. Offers courses A single copy of this new book may be miliar with Dr. authoritative edi- Certificates, workers in the 1947-1948 season will be Kraft’s PIANO SOLOS in all branches of Music. You Can Play the Piano, Part Two. .Richter .35 guishes the clever Pickaninny. B IWl A professional music school diplomas and degrees. Desirable board- ordered now at the special Advance of tions of organ literature. wanting EDI | happy that before vacation time came to Those O D C 1% I in an attractive college town. ing accommodations. Located in down- One copy to a customer may be ordered music. Special train- Publication Cash Price, 40 cents, postpaid. an authentic of Mendelssohn's By Thorough instruction in all branches of town musical center. an end, some attention was given to get- edition direction. 46 artist teachers, unsur- Ave., Chicago 4, III. now at the special Advance of ing in band and choir Box E.306S. Wabash Publication Sold only in the United States and its practice rooms, 23 modem organs, etc.) ting materials together for the season. works for this instrument should procure passed equipment (200 YOU CAN PLAY THE PIANO! -A Book for Cash Price, 25 cents, postpaid. This sale Degrees: Mus.B.. School Mus.B., A.B.. with music major. possessions. a copy of this personal geliFi c oCehman Frank H. Shaw. Dir., Box 587, Oberlin, Ohio. The splendid service of the United the Older new book for their Cvcui Catalog. Beginner, Part Two, by Ada Richler is limited to the United States and its States libraries. The contents, edited for the mails makes it possible for any- —The emphasis in this delightful book, possessions. modern Preludes THE COOKIE SOLDIERS one, no matter where located, to review, as in Part One, which organ, offer the Three MARCH OF has already been 50 cents select, and arrange music materials for BASIC STUDIES and Fugues, Op. and the Six Sonatas, Catalog No. 25926 Grade 4 Price. published, is fluent musical performance. KING MIDAS Cantata FOR THE INSTRUMENTS 37 — for Two-Part Treble delightful piano prrangementofa the coming season's needs, since direct- OF THE ORCHESTRA, by Traugott Rohner Op. 65. A thoroughly CLASSIFIED ADS Because of this Voices, an irresistible humor the player, whether a be- Lyrics by Celia Thaxter, Music by successful song. Filled with mail One copy at the it never loses its appeal. service may be enjoyed through the of junior —Music teachers organizing school or- may be ordered now ond infectious goiefy, ginner high school age or older, May A. Strong Music teachers will find celebrated Radio special performed at New York s PI1ACTICING ANNOYING conveniences to music buyers offered by chestras should become acquainted with Advance of Publication Cash When ,oyous YOUR UNWANTED MUSIC exchanged PIANO or a pianist who wants to “brush up,” will this delightful cantata the Rockettes it elicited ably designed for City Music Hall by for piece, 5c each; quality matched, OTHERS i Mayo's Muting Device Easily the Price, 75 The imitation of a piece Theodore Presser Co., 1712 Chestnut enjoy with this publication. This work will develop cents, postpaid. applause from the audiences. Shoppe. Delton, Mich. Attached or Detached by Anyone without every lesson an unusual sense their use with children of upper ele- ingenious. Burpee’s Specialty at the beginning is indeed St., Philadelphia 1, Pa. Write today, technical in French Bugle harming mechanism. State upright, grand ask- of ability and musical growth I. N PIANO TUNING AT HOME. accomplishment. Familiar and inter- mentary or junior high school grades. A EAR or spinet. Send $5.00 for mute, full instruc- ing for details of examination privileges more con- Course bv Dr. Wm. Braid White. Write Karl esting material is used throughout, in- wide variety students who will practice the scales, in- themes from the great WATER LILIES tions. Money back guarantee. Richard of characters people the en- Bartenbach, 1001 Wells St., Lafayette, Ind. and other conveniences of this direct- tervals, certos, for Compiled and 40 cents Mayo, Piano Technician. Dept. 003, 1120 cluding music by Mozart, Bach, Bee- gaging story, arpeggios in several variations of Piano Solo, 25750 Grade 5 Price. which is based upon the Catalog No. H VRJIONY, Composition, Orchestration, Latona Street, Phila. 47, Pa. mail service. key, Arranged by tremen- number suggesting o qui- thoven, Grieg; new arrangements of folk Greek myth of rhythm, and dynamics. Throughout H.*nry Levine—The A graceful, melodious Musical Theory. Private or Correspondence the King of Phrygia, who blooms afloat Tiny dous pool with these lovely Instruction. Manuscripts revised and cor- Professionally Harmonized Europe, the books, the author has inserted the popularity of Themes from the escent woterbugs, YOUR SONG tunes from and North and South asked that all he touched be turned as from 'be feet of Frank S. Butler, to Great rippling sounds, rected. Mdsic arranged. and Arranged. Free Publishers’ List. Write novel idea of Teasers” Piano Concertos and the insistent h the mood of the piece. Corona. N. Y, America; and original compositions by gold. Preparation for performance will be harmonized “Time further distinguis 32-46 107th St., for Details. H. Saffran, 512 Urban Ave., SOUSA’S FAMOUS MARCHES, Arranged for and melodies demand for the same ex- your MUSIC, Extra. Profes- Glenolden, Pa. the author herself. Presupposing a knowl- facilitated by the absence of solo from outstanding com- more books of promote Piano Solo by Henry Levine Many happy parts MORNING CANTER sional copies. Musicopy Service, Box 181, edge of the fundamentals of music, Mrs. and the easiness posers. cellence have prompted Mr. Levine to dip MUSIC TEACHERS — Extra Copies of of the music in general Grade 4 Price, 40 cents Cincinnati 1, Ohio. hours are in store for the average No. 26322 . musical writings, low cost, Musicopy pianist Mr. Rohner assumes students once more into the ridh resources of con- Catalog your Richter omits any treatment of such de- its singableness, its feasible that the number, bringing vividly POPULAR MUSIC TO 1850. Bal- 181, Cincinnati 1, Ohio. range, and fast, light and breezy H ACK Service. Box with these easily-playable new transcrip- certo A Forest of List Classics tails in the main part of book, who will use these books will have at literature. The ten themes and mel- imagination race-horses In the lads, Rags, Everything. 10c. the but the accompaniment, which can.be han- to the Genuine Honduras tions of Sousa’s most famous marches. lively early morning contei Exchanged For Old Popular. Fore's E-3151 FOR SALE— Mahog- least odies which have Chantilly taking their devotes a few pages to basic information dled by a pianist of average elementary playing ability. The comprise this volume shady woods. Colorado. any. Violin Bow—Natural Finish. Fine Because ability. In through the lanes of the High. Denver 5, of copyright restrictions, such a work been chosen and Hair and Frog $7.95. VUILLES, Murphys- at the very end. Humorous cartoon draw- the keys, moods, and rhythms of will be published in nine instru- from works for violin FOlt SALE: Violin, bv owner. Beautiful grouping has never before been possible. this 1772 boro, 111. ings enliven the ment books including Violin; Viola; from piano concertos. Such recreational JUGGLER IN NORMANDY Joannes Baptista Guadagnini. pages. tuneful work unusual variety is A tone. Sacri- Included are Semper Fidelis, Liberty Bell, shown. Price. 35 cents with Hill Certificate. Glorious 10,000 RECORDS — 600 Goodman, 600 Cello; Bass; fare as this this tal- No. 25753 Grade 4'/2 In advance of publication one copy to a One copy may be ordered Flute-Oboe; Clarinet- Trum- from the hands of Catalog fice or will trade. Pictures and full in- Crosby, greatest classic singers. Every- Washington Post, High School Cadets, now at the piece has been an outstand- pet; ented with This goy, descriptive formation on request. Write Theodore thing 1900/42. Josephine Mayer, Santa customer may be ordered at the special special F Horn; E-flat Horn-Saxophone; teacher is always welcomed and recital number. The Stars Stripes Advance of Publication success, both as a teaching 472 E. 5th Ave., Columbus, and Forever, and seven Cash ing9 unique Marchetti, Barbaga, Calif. and Trombone-Bassoon-Tuba. There is delight by pianists average ability, for ond spirited motion make it Cash Price, 35 cents, postpaid. Price, 35 cents, of Its originality Ohio. other popular numbers. As an expert postpaid. material. whom the easier concert VIOLINS Revoiced, and PATMOR TONE- also a Conductor’s Score. his work is intended. New arrange- among WANTED Mrs. A. M. Virgil Method arranger, Hands. — POST fitted, $25.00: Tonepost (only! fitted, Henry Levine is well-known for Two Pianos, Four Marlin, 188 Brompton Rd„ Gar- Please ments attractive Also published Book T. A. 111. specify the books desired in plac- and editing mark all the Price, 80c $10,00, Guaranteed, Patmor, Zion, through his “Themes” series. (Catalog No. 269681 den City, N. Y. Thousands of Music Teachers and contents __ Other Active Music Workers With ing an order for single copies of each at of this book. Bought and sold, on ORGANS, PROMOTE YOUR SONGS, Professional At 'the special Cash Price, 70 cents, No BOOKS, music store in their communities praise the helpfulness and conveniences At the PRESSER CO. and ORGANISTS. James C. Copies, low cost, Musicopy Service, Box of the Direct-Mail Service of the special Advance of Publication Cash special Advance of Publication THEODORE ORGAN MUSIC PHILADELPHIA I Champaign, 111. 181, Cincinnati 1, Ohio. postpaid, one copy to a customer may be Theodore Presser Co. (Phila. 1, Pa.) Write for Details and Catalogs. Cash CHESTNUT ST. -Andrews, Box 5G5 Sta. A, Price, 25 cents for each instrument book Price, 75 cents, postpaid, one copy ,712 ordered previous to publication. to a person, and 60 cents for the Conductor’s Score. may be ordered now. 479 Anv-ivrrEMENT 478 Advertisement THE ETUDE AUGUST, 1947 . —.

Blizzard Fiddling in a WHERE SHALL 1 GO TO STUDY?

hats thrown Populalar the cymbals, and Chinese in. One the Wjoit better part of a century, OR the to be limited to Teachers (Western) Private Teachers (New York city) of had a Some of the clubs seem a Private City of Philadelphia has known repertoire of about four or five tunes. PIECES parade on New Year's Day OF ALL PIANO TEACHING F Their raiment (often designed in most FREDERICK DAVIS HELEN ANDERSON is the the “Mummers’ Parade.” It CONDUCTOR—TEACHER as jam- excellent taste by artists) is as “splen- Concert Pianist of informal New Year Natl. Assn, of Teachers of Singing evolution as a parade of peacocks. The Member Interesting course—piano, harmony “New Yeai diferous” of THE borees in which so-called Classes in all branches Many Successful Pupils MARCH OF costumes, on the whole, cost thousands city. The and CHORAL ART shooters” took possession of the VOCAL 144 W. 72nd St., N. Y. C. Tel. Sc 4-138S dollars. A Philadelphia string band on Building Salt Lake City 1, Utah is marked of tOt Templeton is now miles long and for appointment parade 1 4-5744) New Year’s Day is surely a thing to see. Phone 3-03 6 (or spectacular attempts at cos- MARY BOXALL BOYD FOLK by the most The Mummers parade through storms WEE history. In past years (Leschetizky) tuming known to HURLBUT and blizzards, with a heroism worthy of HAROLD crude as they were Pianist and Teacher these were often as Paris—New York—Hollywood J. a if nor “Charge of the Light Brigade.” The J$U ffeiiiefeme Cf the the "Of all pianoforte teachers with whom 1 extravagant, but in recent years Member Natl. Assn, of Teachers of Singing have had picture shows the “Polish - American to do, either Os pupil or associate, Mary Boxall Boyd almost pyrotechnical Developer of Singers of Metropolitan Opera, Chi- costumes have been is, in my opinion, the best."— Leland Hall, Prof, of String Band,” with gorgeous white shoul- caao Opera Hollywood Bowl, Radio, etc. "VOICE PIANO SOLO in their color. A number Pub.) Piano at Smith College. and magnificent through a baby bliz- FUNDAMENTALS" (J. Fischer l Bro., N. Y. Grade 2 Price, 30 cents the der pieces, marching Bispham, Add. 113 W. 57th St., c/o Nola Studios, Steinway Cat. No. 30008 of Mummers participate, and was endorsed by W. J. Henderson, Amato, of clubs Philadelphia, last Hall. foi zard on Broad Street, Journet, and otners of that great era. New York City, N. Y. Summer classes fqr this stately all can rise to being “king Immensely popular with juvenile pianists members reported that the 2150 Beachwood Dr. Hollywood, Calif. teachers and students. the clubs New Year’s Day. It is march gives good practice in playing double notes. a day.” The leaders of some of SYDNEY LEE ANGELL EDWIN HUGHES PIANO TEACHER PIANISTS PREPARED FOR PUBLIC PERFORMANCE AND FOR UNIVERSITY, COLLEGE AND CON- One of America’s Eminent Teachers SERVATORY Talented Beginners TEACHING POSITIONS Advanced Pupils or WINTER TEACHING SEASON: SEPTEMBER TO JUNE Correspondence Solicited MONTHLY CLASSES' IN WASHINGTON, D. C, 2065 Clarkson St. Denver. Colo. For full information address: 338 West 89th Street New York 24, N. Y. ISABEL HUTCHESON Tel. SChuyler 4-0241 Teacher for Piano Teachers Modern Piano Technic: Group work for Teachers: CHARLES LAGOURGUE STUDIOS Coaching concert pianists: Conducting "Piano VOICE PRODUCTION—SINGING Teachers Forum." COMPLETE MUSICAL EDUCATION Michael Aaron leads the grown- BROOKS MAYS MUSIC STUDIOS Mr. Lagourgue is the author of "The Secret"—Daily Vocal exercises lOOS'/z Elm Street, Dallas 2, Texas Phone C-6214 —Complete Treatise on Transposition , up, who wants to play piano, rapidly and with etc. Classes held annually at confidence through the' basic principles and to The College International of CANNES, France Cat. No. 30627—Gr. 2 Price, 50 cents. Also PIANO DUET— EVANGELINE LEHMAN: Mus. Doc. New York Address: 35 West 57th Street interesting melodic material in a logical step-wise Gr. 2 Price, 50 cents. Published TWO PIANOS—4 HANDS—Cat. No. 30598— Vocal Studio manner, and with progressive adult thinking. Key- (With 2nd Violin ad. lib.) Cat. No. 30629 Pr., 50 cents. Creative, Individual training. for VIOLIN AND PIANO board illustrations correlate the printed page with Send for reprint from the Etude: (FRANK) (ERNESTO) "Reflections on the Art of Singing" the piano keys. Appealing original melodies and Ash your dealer, or write to the publishers for PREE "Reference Pamphlet" LA FORGE-BERUMEN STUDIOS 147 Elmhurst Ave. Detroit 3, Michigan beautiful familiar favorites are included. of Second and Third Grade Piano Pieces Selected from the Catalog of Voice—Piano Among those who have studied with Mr. La Forge are: Other Books by MICHAEL AARON LIVERETTE Marian Anderson, Lawrence Tibbett, Richard Crooks, A LUCIA O'BRIEN 9 and Mme. Matzenauer. Church Company Several year* auiitant fe MICHAEL AARON PIANO PRIMER 60c The John MOO Park Ave., Corner 89th St., New York LAZAR SAMOILOFF Theodore Presser Co., Distributors, J7I2 Chestnut St., Philadelphia 1, Pa. Tel. Atwater 9-7470 Now Teaching in His Academy MICHAEL AARON PIANO COURSE 3 ISO West Sixth St. Lot Angeles 5. Calif. Phone Fe 8294 RICHARD McCLANAHAN Send Sl.00 for ROY CAMPBELL Representative TOBIAS MATTHAY GRADE ONE.. 1.00 JUST RHYTHMIC DRILLS Private lessons, class lessons in Fundamentals Teacher of Successful Singers EDNA GUNNAR PETERSON Summer-class, Southwest Harbor, Me. RELEASED! LESSON ONE BOOKLET of 801 Steinway Bldg. New York City 1.00 RHYTHM Concert Pianist—Artist Teacher GRADE TWO and Radio Theatre - Pictures - Concert - Opera 229 Harvard , Calif. EXPLANATORY BOOKLET "STYLE-IZiNG” for Radio and the Theatre So. Blvd. TONE TUNE TECHNIC FE. 2597 E. TREUMANN GRADE THREE 1.00 —Studio EDWARD for Beglnnors in Piano EFFA ELLIS PERFIELD 607-8 New York City THE SAMOILOFF Concert Pianist—Artist-Teacher 103 East 80th St. (Park Ave.) New York City Telephone Cl 5-9244 Recommended by Emil Von Sauer, Moritz Moszkowskl GRADE FOUR ..... 1.00 by FLORENCE FENDER BINKLEY BEL CANTO STUDIOS 6 OPERA ACADEMY Time. saved this and Joseph Hofmann. Snowstorm “In the Good Old Mummer We These books establish In the beginner a free, The only place where you can learn the original Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. illustration for Midsummer io give our readers cooling thoughts. Samoiloff Bel which developed such Canto Method Tel. Columbus 5-4357 New York City balanced, buoyant technic by developing a THE MANNES. outstanding voices as NELSON EDDY, BIANCA Summer Master Class—June 15 to August 15. feeling for the Hooting arm. The story technique, Saint Mary-of-thc-Woods SAROYA, DIMITRI ONOFRI and many others. Now under the direction Zepha Samoiloff. the boat story, enhances the student's alertness MUSIC SCHOOL COLLEGE have robes nearly a block long, requiring string band players lost thousands of dol- of January Write for Catalog, 3150 West Sixth St., Los Angeles 5 VIOLA end desire to learn. • Amateurs • Children of Music for Girls. Applied Music. to them. lars in instruments, ruined on MME. GIOVANNA Professionals Conservatory twenty attendants support On Phone FE 8294 No charge for Audition Theory. Public School Music, leading to B.A. and Dramatic Soprano Class and Individual Instruction robes as diffi- first, this year. Vast crowds line the — stresses fundamentals with simple B.S. with a major in Music Education. Piano, voice, windy days these become Teacher of Singing "Bel Canto" THIS WAY BOOK ONE Artist Instructors • Orchestral Instruments organ, harp, violin, other instruments; composition, streets for the parade and the City of Experienced European trained Artist compositions illustrating the technical principles. Beautiful, well-equipped buildings, spa- cult to handle as a ship in a gale. Among ELIZABETH harmony. SIMPSON Coaching Opera, Concert and Radio DAVID & CLARA MANNES. Directors cious campus. All sports. Early registration advised. the marchers are the clubs known as Philadelphia offers generous prizes for 74th STREET NEW YORK 21. N. Y. Catalogue Box l7^Saint IVIary-of-the- Woods. Indiana Author of "Basic Pianoforto Technique" Correct voice production, defective singing corrected BOOK TWO carries the beginner through X57 EAST Golden Slip- TO MUSIC “string bands” (some with over a hun- the competing clubs. O, Dem Teacher of Teachers. Coach of Young Artists. Beginners accepted pedal studies, playing hands together, finger Pupils Prepared Phone: Trafalgar 7-8230 Mon., Tues., Wed., only are like pers, the famous Negro composer, for Concert Work. Class Courses crossings, chromatic dred members) . These huge, am- by New York City special scale drills and song in Technique, Pianistic Interpretation, Normal 608 West End Ave. by bulant mandolin clubs with guitars, vio- James A. Bland, has been the theme Methods for Piano Teachers. establishing the groundwork for e thorough lins, saxophones, accordions, percussion, of the Mummers for decades. 79 McAllister St., Room San Francisco; foundation of the major scales. Answers to True or False 1, CRYSTAL WATERS HAZEL COBB 2833 Webster St., Berkeley, Cal. Price 7Sc Concert Singer — Teacher simplified, each In Harmony Land Voice Building, Breathing, A correct book DR. FRANCIS L. YORK Diction, Expression, Style. way to the intelligent Advance Piano Interpretation Question and the Theory work In preparation for A Band required reading of nofes. Miss 1. True. the second inversion when the bass as- for the degrees of Mus. Bach., and Mus. Radio, Screen, Stage, Mas. Special Chopin interpretation. Concert, Opera. Cobb employs lateral 5 BOOKS by 2. False. Tones are expressed by signs cends. DETROIT CONSERVATORY OF MUSIC 405 E. 54 St. New York City reading from nine known notes to give the rests designate silence. 12. False. The Subdominant chord (IV) ^/IniwereJ. Lit WScm 2>. R.vJk called notes, but Tel. Vo-5— 1362 Detroit, Mich. more rapid knowledge STANFORD KING progresses to any triad student a of note place- 3. False. A chromatic scale contains in root position ment on the staff. Tuneful, original melodies Mediant (III) and competent teachers spend many years A BOY and HIS PIANO thirteen notes. except a Text Book for Band Instruments preparing themselves for such careers. I enhance the desire to learn. Profusely illustrated, 4. 13. True. True. the develops extraordinary skill A GIRL and HER PIANO clar- book through entirely 14. True. Q. I have been a teacher of voice and suggest that you begin the study of 5. False. This would depend its clear planning. violin for over twenty years and now due teachers LET’S PLAY HOBBIES upon the tempo designated by “Andante,” 15. False. The upper parts should move inet and cornet with established to a demand, am asked to teach orchestral contrary motion to the bass to avoid of good reputation. The conducting of an JUNIOR MISTER Plays “Vivace” and so forth. The half note or in and band instruments privately. Although fifths octaves. orchestra or is field, but the quarter note have no definite value. consecutive or I have never taught these instruments, I a band one tha Piano have done considerable orchestra work is quite 6. True. 16. True. teaching of the instruments with church and community groups. Now in JUNIOR MISS Plays 7. False. succession of three first in- 17. False. This is best avoided. something else. There is no substitute A I am faced with the problem of teaching inversions than the Piano versions of triads is effective but a suc- 18. False. Dominant Seventh the several wind instruments without pre- the preparation of the teacher, other cession of second inversions is best are usually complete and no note is vious knowledge of them. I study and ap- adequate instruction and the knowledge Price OOc each ply what I read in The Etude find avoided. doubled. and it to of instruments that is achieved from such be very helpful, yet a complete text of the 8. False. There the Supertonic 19. True. study. As materials, suggest that you are two— various instruments would be very help- to I Los Angeles 14, (el. 20. False. Deceptive or Interrupted house (II) and the Leading Tone (VII) A ful. Can you recommend such a book? write or contact a reliable music 4! t W. 7!h St. 9. True. Cadence is a Dominant Seventh chord Mrs. M. H. S., La Porte City, Iowa for such information. There are hundreds 10. False. The third of a Dominant (V7) or a Dominant Triad progressing to of texts for the various instruments— A. The teaching Seventh chord is major in both modes. a Submediant (VI). of wind instruments is the most of which are good if properly 11. False. The Seventh may ascend in 21. True. of course a very complex and broad field used.

480 "MUSIC STUDY EXALTS LIFE’ THE ETUDE

MC * PRINTED IN THE A. BY THE CUMEO PRESS, * ear-rouncl Recreation for Rianiits

— GREAT PIANO FOUR ALBUMS Arranged r' HENRY LEVINE 8- THEMES THEMES THEMES FROM THE THEMES FROM THE GREAT FROM THE GREAT ORCHESTRAL FROM THE GREAT SYMPHONIES PIANO CONCERTOS REPERTOIRE OPERAS FOR PIANO SOLO FOR PIANO SOLO FOR PIANO SOLO ARRANGED FOR PIANO SOLO Compiled by HENRY LEVINE Compiled by HENRY LEVINE Compiled by HENRY LEVINE By LEVINE HENRY This latest piano album edited by Twenty-four excerpts from twenty, Twenty famous opera themes ar- The diligent student and the occa- Henry Levine is certain to be wel- one favorite symphonies arranged for ranged within the scope of the aver- sional player will both find a source comed enthusiastically, as were his the average pianist. age pianist. of deep inspiration and great joy in others. Accomplished pianists will Price, 75c playing the well-known themes from find the numbers useful and enjoy- Price, 75c the great Piano Concertos. The ar- able, and teachers will certainly want CONTENTS rangements are of a grade which the to place them in the hands of students CONTENTS BEETHOVEN average players can encompass and in the fifth and sixth grades of progress. BIZET Habanera, from “Carmen” Symphony No, 3—Funeral March such pianists as well as piano students Price, 75c Toreador’s Song, from “Carmen” Symphony No. 5—Allegro con Brio in the intermediate grades will be Symphony No. 5—Andante con assisted by the marked phrasings, CONTENTS DONIZETTI Moto shadings, fingerings, and pedalings. BACH Sextette, from “Lucia di Lammer- 7- Air, from “Suite No. 3 in D” moor" Symphony No. —Allegretto Price, 75c Symphony No. —The Metronome DEBUSSY FLOTOW Prelude to the Afternoon of a Faun Symphony No. 9 Choral Theme CONTENTS Like a Dream, from “Martha” DUKAS GOUNOD BRAHMS BEETHOVEN Themes from “The Sorcerer’s 1 Waltz, from “Faust” Symphony No.. —Finale Concerto in E-flat-major Apprentice” Symphony No.. 3—Allegretto CHOPIN ENESCO LEONCAVALLO Symphony , 4 Andante Canio’s from “Pagliacci” No. — Themes from “Roumanian Lament, Moderato Concerto in E-minor MASCAGNI GRIEG Rhapsody” DVORAK Intermezzo, from “Cavalleria Concerto in A-minor GRIEG New World Symphony—Largo In the Hall of the Mountain King Rusticana” FRANCK LISZT LISZT MOZART Concerto in E-flat-major Symphony in D-minor—Allegretto Theme from “Les Preludes” Minuet, from “Don Juan” HAYDN MACDOWELL MENDELSSOHN OFFENBACH Concerto in D-minor Nocturne, from Barcarolle, from “Les Contes Symphony No. 1 —Menuetto “Midsummer Military Symphony—Minuet MOZART Night’s Dream” d’Hoffmann” Surprise Symphony—Andante Concerto in D-minor RIMSKY-KORSAKOW SAINT-SAENS MOZART RACHMANINOFF Two Themes from “Scheherazade” My Heart At Thy Sweet Voice, “Samson and Delilah” Symphony in E-flat—Minuet Concerto in C-minor SAINT-SAENS from Symphony in G-minor—Minuet RUBINSTEIN Themes from “Danse Macabre” THOMAS Jupiter Symphony—Allegro Vivace Concerto in D-minor SIBELIUS Knowest Thou the Land, from Theme from “Finlandia” “Mignon” SCHUBERT SCHUMANN SMETANA Symphony No. 5—Andante con Concerto in A-minor VERDI Song of the Moldau Trovatore” Moto TSCHAIKOWSKY TSCHAIKOWSKY Anvil Chorus, from “II Unfinished Symphony—Fragment Heavenly Aida, from “Aida” Concerto in B-flat-minor Waltz, from “Serenade for from the First Movement Strings” Miserere, from “II Trovatore” Unfinished Symphony—Slow Quartet, from “Rigoletto” Movement M 1712 Chestnut St., Philadelphia 1, Pa. To the Evening Star, from Symphonie Pathetique—Finale w* “Tannhauser”